This document discusses cinematic principles and ideograms through the lens of Eisenstein's essay. It explores how hieroglyphs in ancient Chinese writing formed the basis for ideograms through the combination of symbols. Japanese poetry like haiku and tanka also utilized concise forms. The concept of montage is discussed as a cinematic technique of combining shots that creates meaning and analyzes events. Principles like disproportion, realism, and optical counterpoint create unexpected conflicts and tensions in film.
2. Cinematography
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The art or science of motion picture photography
Film directors visual collaborator
Japanese cinema had traits of montages that were never
realized
Hieroglyph to be used as cinematography for writing and the
first contingent forms were the chinese by Ts’ang Chieh
Ryan Wariki
3. Chinese Cinematography
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Fourteen different styles of handwriting in hieroglyph which
then crystallize in it’s present form
Ancient Chinese Bronzes were formed and created 607
symbols of hsiang cheng remains
Copulation (combination) of two hieroglyphs series to be
known as a product and thus ideogram was formed by
combined two depictables to represent the ideal of
cinematography
Ryan Wariki
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4. Chinese Ideogram Commands
Dog
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Mouth
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To bark
Mouth
+
Child
=
To
scream
Mouth
+
Bird
=
To sing
Knife
+
Heart
=
To
sorrow
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Ryan Wariki
Thus all this commands are MONTAGE!
Abstract concept but they are
commands
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5. Laconic Form
Laconism helps us with a transition to
another point.
Japan possesses the laconic form of
poetry
“Haiki”
(During the Beginning or the 13th Century)
In the modern age this is known as
“Haiku” or “Hokku”
Ayiesha Williams
6. Haiku (俳句)
Haiku are short poems that
use sensory language to
capture a feeling or image.
“Butterflies are cool
in the big, huge, green forest.
They fly up so high!”
Ayiesha Williams
7. Tanka (短歌)
Tanka poetry refers to a
Japanese five line poem.
Tanka translated means “short
song.”
“The weather is cool
It's clear that fall is coming
The leaves will soon change
The days will become shorter
And then winter will fall too.’’
Ayiesha Williams
8. Skaraku’s Faces
Skaraku is a creator of the finest prints of the
18th Century.
He uses the same expression but these
pictures are of a old priest and a young
women.
Each of his large heads:
• Space between the eyes are little to mock
all the faces.
• Nose is twice as long in relation to the
eyes.
• Chin stands in no sort of relation to the
mouth and the brows.
Ayiesha Williams
9. Bianca I
Monstrous Disproportion
• Disproportion depiction of an event is organically natural
to us.
• Monstrous disproportion of a part is normally flowing
event.
• Dismember of this part usually turns into a “close up” in
to a event
• Example:
▫ Extreme close up of bulging eyes
▫ Medium shot of the struggle
▫ Close up of clutching hand
These shots combined make one newly informed event into
one whole scene that a meaning now
10. Bianca I
Monstrous Disproportion
• Everything is represented in passably
accurate relationships and with great
care in disproportion depiction
• Painting and sculpture are good
examples
• Displacing the expressiveness of a art
work like a painting or sculpture decree
the harmony of the work
11. Bianca I
Absolute Realism
• Absolute realism is by no mean the correct form of
perception
• It is basically the function of certain forms of social
structure
• Ideological uniformity can be developed pictorially in
the ranks of colors and design of the guard regimen
12. Bianca I
Principle of Hieroglyphics
• Principle of creating literary imagery
• Basic principle of depiction
• Lead to theater:
▫ Splitting into two parts, accordance with
function of symbols
▫ This unite to dual estrangement that sphere
into theater
13. Bianca I
Ideographic
• The most important technique in acting is
Ideographic (montage)
• A shot is a single piece of celluiod
• Cemented or put together these shot form montage
• Montage is not a assembly of events but the most
important element of anaylsis
14. Bianca I
Old school film making phrase
• “Screw by Screw, Brick by Brick”
• This is taught by old school filmmakers
• the analysis of the Phrase
▫ Particles of a story is linked in a whole dramatic
chain
▫ Then the ideas are expressed and accumulated like
a shot-cipher just like a brick
17. Unexpected Conflicts
• Conflicts between an object and its dimension.
Conflicts between an event and its duration.
• How?
▫ Optically distorted lens, and the second by stopmotion or slow-motion
Andrew Abuan
18. Principle of Optical Counterpoint
Conflict
the sound film of acoustics and optics
between the frame of the shot and the object
Andrew Bridge
