6. A montage is a basic element of cinema and
established by Soviet film as the “nerve of cinema”
A montage is when single shots are placed one
after another and the movement of these shots
are said to create a rhythm
Known as the “epic principle” a montage is the
means of unrolling an idea with the help of single
shots
7. However the author does not agree. He says that
describing a montage in this way means defining a
given object solely in relation to the nature of its
external cause
He believes a montage has more of metric
relationship rather than rhythmic
In his opinion, a montage is an idea that arises from
the collision of independent shots
8. “We know that the phenomenon of movement in film
resides in the fact that two motionless mages of a
moving body, following one another, blend into an
appearance of motion by showing them sequentially at
a required speed”
The author claims this description of blending has the
responsibility for the popular misconception of the
nature of montage previously noted
9. CONFLICT AND MONTAGE
Manifestation can mean that the shot is not an element of montage
or the shot is a montage cell.
In this formulation there are division of
Sub-title and Shot
Shot and Montage.
10. There are 3 different phases to the homogeneous task of
expression.
1. Purely Verbal Utterance – without intonation expression in
speech.
2. Gesticulatory Expression – projection of the conflict onto the
whole expressive bodily system of man.
3. Projection of the Conflict into Space – zigzag mimic expression
is propelled into the surrounding space following the same
formula of distortion.
11. TYPES OF CONFLICTS WITHIN THE FORM
CHARACTERISTIC
Graphic conflicts
Conflict of planes
Conflict of volumes
Spatial conflict
Light conflict
Temp conflict
Conflict between matter and view point – spatial distortion through camera
angle
Conflict between matter and its spatial nature – optical distortion by the
lens
Conflict between and event and its temporal nature – slow and stop motion
Conflict between the whole optical complex and different space
13. PICTORIAL SYMBOLISM
Symbols or photographs
The purpose of pictorial symbolism is to note important
details of film stories
Pictorial must be learned and deciphered and
depending on the meaning behind pictures and the
culture that created the pictorial
15. EMOTIONAL DYNAMIZATION
Dynamization: Expresses psychology emotional in films that
becomes emotional dynamization
Symbolism: symbols that show emotional effects in the movie
Stylistic gesture
Harp sequences (Sad Results)
Purely dynamic (Positives Result)
Cutting montage- cutting images from movies
http://www.slideshare.net/shaneral/powerpoint-31866780
16. Eisenstein believed that nature’s eternal fluctuation
is dialectical- the result of the conflict and synthesis of
opposites
Dialectic approach is an approach to film form that
presents an ideology by associating two opposing
elements
Two separate concrete objects can be associated to
create a symbol
Unlike painting that uses abstract lines and colors, film
relies more on concrete images within the frame
