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The Unexpected


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The Unexpected

  2. 2. WHAT IS IT THAT IS UNEXPECTED?Theatre turning into cinema and where cinema takes the latest step in its development. In Kabuki, Eisenstein saw a brilliant example of effects that might be achieved through the camera.
  3. 3. WHAT SURPRISES EISENSTEIN? Its also VERY important to understand that Eisenstein worshipped the Japanese for their instinctive practice. Eisenstein admired the mechanical cutting by the actors who broke up their acting without transitions. When an actor shifted their performance to a newemotional intensity, sadness to madness for example, similar to how Eisenstein shifted emotions in the way he cut shots together, they performed a mechanical cut where they paused, hid their face, and applied different makeup. In keeping with montage, Eisenstein also admired the fragmented acting, where an actor would only act with a single part of his body in onemoment, (his hands), then only with another part (neck, head), and each shiftwould last a shorter and shorter amount of time. This would break the actors body up into shots, and as the shots got shorter, the dramatic power intensified
  4. 4. HOW DOES HE RELATE THIS EXPERIENCE TO CINEMA?He relates this experience to cinema by using the Kabuki Theatre. In the Kabuki Theatre one perceives light vibrations as sounds and tremors of the air as colors. He puts it this way: One "hear movements" and "sees sounds."
  5. 5. PARALLEL THAT EXPLAINS THE CONCEPT. A parallel or example of this can be seen through the opening quotation. "Whatever notes I cant take with my voice, Ill show with my hands."“But here the voice does reach and the hands do point! ... And we stand numbed by such perfection ... of montage.” He credited the Kabuki performers for their use of visuals with sound, perfecting a very early form of montage.Sometimes there are intellectual questions that cannot be answered with intellectually analyzed answers. So at times we are forced to answer them through gestures. Thats where we can truly understand the example Eisenstein used in the opening of this chapter.