![]() ![]() Intellectual montage juxtaposes images to elicit cerebral responses rather than emotional ones. Methods of Montage In this essay Eisenstein categorizes the ways of assembling montage, from metric (adhering to strict mathematical formulas), to rhythmic (an evolution of the prior which adjusts its speeds according to the feeling present), to tonal (montage with an emphasis on the general tone of the piece (75)), to. Overtonal montage utilizes metric, rhythmic and tonal montage simultaneously to a greater effect, conveying more abstract ideas. As the last and highest stage, Eisenstein defines the already mentioned intellectual montage. The fourth type, called overtonal or associational montage, is a combination of the first three types and therefore also a mixture of motoric and emotional effect. ![]() Tonal montage uses the emotional content of shots to create meaning. Tonal montage, however, focuses on the creation of an emotional expression. ![]() Rhythmic montage cuts shots based on visual continuity. In other words, the editing of shots rather than the content of the shot alone constitutes the force of a film. Metric montage cuts shots to a defined number of frames, regardless of what is happening in the image. 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. Soviet montage includes many different methods of creative editing to elicit different responses. This part is highlighted because it indicates the link to another information unit. Though this theory was explored by many Soviet filmmakers, the most widely accepted is Sergei 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.” Soviet montage refers to an approach to film editing developed during the 1920s that focused, not on making cuts invisible, but on creating meaningful associations within the combinations of shots. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |