Intellectual montage meaning movie#
For example, Dziga Vertov's Man with a Movie Camera documents the everyday activities of people from various locations in the Soviet Union, but never gives priority to a continuity of action. Space can be discontinuous in order to disorient a spectator. Montage may include these elements as well, but is not determined by them. The 180 degree rule, in which an imaginary straight line is imposed by a director in order to create logical association between characters/objects that require a shot-reverse shot, is used to solidify the spectator in a relation to the image in a way that makes visual sense. Effect and Intention – Continuity editing is oriented spatially meaning it fills gaps between locations and moments in a film's narrative progression.Montage, on the other hand, holds that the dialectical collision of images creates a film's meaning, and thus is less concerned with a script than it is the synthesis of associations between shots. Production – Continuity maintains a subservience to a predetermined narrative.Continuity differs from montage in both its production, effect and intention. Continuity editing – Continuity, like montage, situates editing as the driving formal element of narrative film making.Steve Odin traces montage back to Charles Dickens' use of the concept to track parallel action across a narrative. Vsevolod Illarionovich Pudovkin, for example, claimed that words were thematically inadequate, despite silent cinema's use of intertitles to make narrative connections between shots. Many directors still believe that montage is what defines cinema against other specific media. In other words, the editing of shots rather than the content of the shot alone constitutes the force of a film.
Intellectual montage meaning series#
Montage theory, in its rudimentary form, asserts that a series of connected images allows for complex ideas to be extracted from a sequence and, when strung together, constitute the entirety of a film's ideological and intellectual power. The bulk of influence, beginning from the October 1917 Revolution until the late 1950s (oftentimes referred to as the Stalin era), brought a cinematic language to the fore and provided the groundwork for contemporary editing and documentary techniques, as well as providing a starting point for more advanced theories. Labor, movement, the machinery of life, and the everyday of Soviet citizens coalesced in the content, form, and productive character of Kino-eye repertoire. Kino-Eye forged a film and newsreel collective that sought the dismantling of bourgeois notions of artistry above the needs of the people.
The collectivization of filmmaking was central to the programmatic realization of the Communist state. Films that focused on individuals rather than masses were deemed counterrevolutionary, but not exclusively so. The production of films-how and under what conditions they are made-was of crucial importance to Soviet leadership and filmmakers. A semiotic understanding of film, for example, is indebted to and in contrast with Sergei Eisenstein's wanton transposition of language "in ways that are altogether new." While several Soviet filmmakers, such as Lev Kuleshov, Dziga Vertov, Esfir Shub and Vsevolod Pudovkin put forth explanations of what constitutes the montage effect, Eisenstein's view that "montage is an idea that arises from the collision of independent shots" wherein "each sequential element is perceived not next to the other, but on top of the other" has become most widely accepted.
Post-Soviet film theories relied extensively on montage's redirection of film analysis toward language, a literal grammar of film. In fact, montage is demonstrated in the majority of narrative fiction films available today. Alfred Hitchcock cites editing (and montage indirectly) as the lynchpin of worthwhile filmmaking.
Its influence is far reaching commercially, academically, and politically. It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking.Īlthough Soviet filmmakers in the 1920s disagreed about how exactly to view montage, Sergei Eisenstein marked a note of accord in "A Dialectic Approach to Film Form" when he noted that montage is "the nerve of cinema", and that "to determine the nature of montage is to solve the specific problem of cinema". Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing ( montage is French for 'assembly' or 'editing').
Sergei Eisenstein (left) and Vsevolod Pudovkin (right), two of the best-known Soviet film theorists
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