![]() ![]() He explains: “It is exactly what we do in cinema, combining shots that are depictive, single in meaning, neutral in content – into intellectual contexts and series.” Įisenstein lays emphasis on the relation between two shots. In this sense, the combination of two images of concrete objects has “to be regarded not as their sum, but as their product” a depiction of an abstract concept or idea that is graphically unrepresentable, invisible and not a fixed symbol. In this logic he refers to German philosopher Hegel (1770-1831) and his dialectical process, in which one shot ( thesis A) and the succeeding shot ( antithesis B) clash and simultaneously unify to synthesis C and yield a higher, ‘third meaning’. Eisenstein used to describe this kind of montage as ‘intellectual montage’: “The prospect of a discursive cinema that could lay out arguments and present entire systems of thought” fascinated Eisenstein, “he envisioned using montage to generate not only emotions but also abstract concepts: ‘From image to emotion, from emotion to thesis.’” In contrast to conventional editing that juxtaposes continuing shots, Eisenstein held the belief that shots create the most powerful meaning when they clash. In the following years, Eisenstein enhanced his theory of attractions to a theory of dialectic montage, which involves the spectator and his own thoughts, conveys an ideological thought and encourages to imitate the seen events. It is not the realistic depiction that interests Eisenstein, but the motoric and associative construct behind it and that all shots are selected with regard to an underlying concept and effect. Thus, it is his purpose to not only combine concrete visual images, but to cause whole chains of associations. In this treatise Eisenstein describes his “attempt to create a ‘film language’ consisting of visual figures of speech and abstract discursive arguments.” He understood the term ‘attractions” as images or events which easily attract the attention of the viewer, similar to circus acts. In 1923, Eisenstein published his first and most famous essays: The Montage of Attractions. The recipient should be dissuaded from his habitual viewing or thinking patterns. The movement of Surrealism grew out of a Parisian society of artists, writers and filmmakers who tried to create an immediate translation of dreams, imagination and the unconscious. In addition, a comparison to Louis Buñuel’s Un chien andalou, one of the most famous Surrealist films, will be drawn. This essay will examine the innovative montage techniques of Eisenstein and their meanings with emphasis on The Battleship Potemkin. Truth could be boring and so the events had to be dramatized to encourage imitation. ![]() Cinema was the easiest way to transport a political conviction to all people, from upper class to peasants, who were unable to read. It is common in America and in East Asian martial arts films.Sergei Eisenstein’s Montage Techniques and their Meanings in Comparison to Louis Buñuel’s Un Chien Andalou In the 1930s the Soviet revolutionary cinema changed the former understanding of film editing, ahead of everyone Sergei Eisenstein (1898-1948), whose aim it was to promote the idea of political rebellion. The time of multiple weeks or months happens in a couple of minutes on the screen. It often shows physical training with shortcut images appearing really fast. Sports training montage is a type of montage to show sport athletes training. This type of montage creates the Kuleshov effect. ![]() Intellectual montage combines images to add meaning and emotions. Overtonal montage combines metric, rhythmic and tonal montage. Directors place two images together to create emotions. Tonal montage cuts images based on the emotions of a scene. This creates continuity and makes things less abrupt. ![]() The images are matched with what is happening. Rhythmic montage cuts clips based on the actions of the images. This type of montage can be jarring and unpleasant. It is based on the number of frames (single image in a video). Metric montage is not connected to emotions or a deeper meaning. Several were originally part of Soviet Montage Theory, but are common in films today. There are several types of montage editing. Soviet theorists believed montage could create meaning and symbolism. Montage is an important part of Soviet Montage Theory. In French, the word montage simply means editing. It can give much information in a short amount of time. The series of shots use less space and time. In montage, shots are placed one after another in a sequence. ![]()
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