The Unexpected
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The document discusses Sergei Eisenstein's experience viewing Kabuki theatre in Japan and how it influenced his filmmaking techniques. Eisenstein was surprised by the mechanical cutting between actors and their ability to fragment their acting into single body parts. He saw similarities between this and his own technique of shifting emotions through cutting shots. Eisenstein also admired the unconventional acting styles and related his experience to concepts like montage in cinema. He believed the Kabuki theatre demonstrated techniques that could achieve dramatic effects through a camera in film.
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The document discusses Sergei Eisenstein's experience viewing Kabuki theatre in Japan and how it influenced his filmmaking techniques. Eisenstein was surprised by the mechanical cutting between actors and their ability to fragment their acting into single body parts. He saw similarities between this and his own technique of shifting emotions through cutting shots. Eisenstein also admired the difficulty in combining elements, as seen in Charlie Chaplin's work. He brought these lessons from Kabuki back to his own work in cinema.
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The document discusses Sergei Eisenstein's experience viewing Kabuki theatre in Japan and how it influenced his filmmaking techniques. Eisenstein was surprised by the mechanical cutting between actors and their ability to break up scenes without transitions. He was also impressed by fragmented acting where individual body parts would be focused on for decreasing time periods to create drama. Eisenstein saw parallels between these Kabuki techniques and his own use of montage to shift emotions. He believed the experience helped him understand how to combine elements in film, which he saw as very difficult.
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The document discusses Sergei Eisenstein's experience viewing Kabuki theatre in Japan and how it influenced his filmmaking techniques. Eisenstein was surprised by the mechanical cutting between actors and their ability to fragment their acting into single body parts. He saw similarities between this and his own technique of shifting emotions through cutting shots. Eisenstein also admired the difficulty in combining elements, as seen in Charlie Chaplin's work. He brought these lessons from Kabuki back to his own work in cinema.
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The document discusses Sergei Eisenstein's experience viewing Kabuki theatre in Japan and how it influenced his filmmaking techniques. Eisenstein was surprised by the mechanical cutting between actors and their ability to break up scenes without transitions. He was also impressed by fragmented acting where individual body parts would be focused on for decreasing time periods to create drama. Eisenstein saw parallels between these Kabuki techniques and his own use of montage to shift emotions. He believed the experience helped him understand how to combine elements in film, which he saw as very difficult.
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2) Thematic montage which stresses associations of ideas through parallel editing of different scenes.
3) Eisenstein's concept of montage where editing captures dialectical conflicts through opposing visuals, sounds, and actions. He used this in Battleship Potemkin's famous "Odessa Steps" scene.
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This document outlines various rehearsal techniques that could be used when preparing a theatrical performance, including exercises focused on character development, physicality, ensemble work, and voice. Some key techniques mentioned are having actors reveal their character's inner thoughts during rehearsal, putting actors in a "hot seat" to answer in-character questions, examining emotional objectives and super-objectives, and using techniques developed by Stanislavski and LeCoq to explore movement, tension, and non-verbal communication between actors. An accompanying Prezi presentation provides additional context on applying these techniques to a production of Woyzeck.
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Eisenstein was surprised by the techniques used in Japanese Kabuki theater that were similar to film techniques like montage. He admired how Kabuki actors would perform "mechanical cuts" by pausing and changing their emotional expression or makeup to shift between emotions, similar to how shots are cut together in film. Eisenstein also appreciated the fragmented acting where different body parts would be emphasized in short succession, intensifying the dramatic effect like shorter shots. He saw parallels between these Kabuki techniques and developing practices in cinema, where movements could be "heard" and sounds "seen", perfecting an early form of visual storytelling through montage.
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The document discusses key elements of Kabuki theatre including singing, dancing, makeup, costumes, and the use of simultaneity to tell stories. It also examines how Russian filmmaker Sergei Eisenstein studied Kabuki and was influenced by techniques like using costume and imagery to represent concepts. Eisenstein believed Kabuki mastered playmaking through multiple events happening simultaneously in a single shot. The document argues sound is as significant as visuals in Kabuki performances, with music and sound effects used to create a richer sensory experience for audiences. Examples are provided of how film directors have effectively used sound in movies to enhance scenes in a way inspired by Kabuki theatre.
Group 1 film theory
Eisenstein's film career began with his 1923 production of Ostrovsky's play "Enough Simplicity in Every Sage." However, Eisenstein believed his "film tendencies" started with his 1920 theatrical production of "The Mexican." Eisenstein experimented with techniques like montage in "The Sage" to interweave scenes. He also utilized concepts from music hall and circus performances. Eisenstein further developed montage editing in his famous film "Strike" using techniques like mis-en-scène and mis-en-cadre. The document discusses Eisenstein's early career and experiments that influenced his pioneering developments in film technique, particularly montage editing.
Film essay1[1]
Eisenstein viewed film as composed of two elements - photo fragments of nature that are recorded, and these fragments being combined in various ways to tell a story. He believed that both film and theater rely on assembling smaller pieces, like frames in film or words and sounds in theater, to create a larger whole. Contemporary films and plays illustrate this by using events, emotions, gestures, and mimicry to realistically portray scenes and influence the audience. An example is Eisenstein's early film which started as a short comic piece and grew as he advanced in his filmmaking skills.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Film essay1
Eisenstein viewed film as composed of two elements: photo fragments of nature recorded and then combined in various ways to tell a story. Just as a musician uses scales or a painter uses colors, filmmakers use individual shots combined through montage to create a larger work. Contemporary theater and cinema demonstrate this view through their use of realistic elements like settings, physical acting, and sensory details to immerse audiences in the story.
Abbas Kiarostami And A New Wave Of The Spectator
1) Abbas Kiarostami is often seen as influenced by Western cinema like Godard and the French New Wave, but the document argues his films are more influenced by Eastern traditions of symbolism and deconstruction.
2) Kiarostami focuses on the role of the spectator and turning the image into a mirror that reflects the spectator. He aims to eliminate the distance between the eye and reality.
3) Rather than represent socio-political issues directly, Kiarostami represents cinematic concepts and the apparatus of cinema to show how the medium works and its basic rules.
Film theory film form group 4
This document discusses a dialectic approach to film form. It explains that a montage is created through the collision of independent shots and expresses ideas. There are different types of conflicts that can be used within film form, including graphic, spatial, light, and temporal conflicts. Understanding pictorial symbolism, emotional dynamization, and the dialectic nature of montage can provide insight into analyzing film problems. A dialectic approach presents an ideology by associating opposing elements through film techniques like montage.
Film essay
Eisenstein's view is that film, like other art forms, is composed of individual elements that are combined to form a larger whole. Film comprises individual photo fragments that can be arranged in various ways, just as a musician combines scales or a painter uses colors. Contemporary theater and cinema illustrate this by using realistic elements like fighting scenes and sweaty bodies to draw the audience in emotionally, replacing illusionary scenery with tangible realistic depictions. Eisenstein worked his way up from short comic films to understand how individual shots combine to tell a larger story through their arrangement, like words forming a sentence or notes a piece of music.
Film theory film form group 4 complete
This document discusses Sergei Eisenstein's dialectic approach to film form. It explains that a dialectic approach presents an ideology by associating two opposing elements through techniques like montage. Montage involves placing single shots sequentially to create a rhythm or idea. Eisenstein believed montage results from the collision of independent shots rather than their blending. The document also outlines different types of conflicts that can be used in film form, including graphic, spatial, light, and temporal conflicts. Pictorial symbolism and emotional dynamization are discussed as ways to convey meaning and psychology in films.
Group 4 Presentation
This document discusses Sergei Eisenstein's dialectic approach to film form. It explains that Eisenstein believed montage is not just the rhythmic placement of shots, but arises from the collision of independent shots. It outlines different types of conflicts that can be used within the film form, including graphic, spatial, light, and temporal conflicts. The document also discusses pictorial symbolism in film and how symbols can be used to represent emotional dynamization and show psychological effects. Overall, the summary focuses on Eisenstein's view that nature and film form result from the conflict and synthesis of opposing elements through the use of montage and symbolism.
Film theory film form group 4
This document discusses a dialectic approach to film form. It explains that a montage is created through the collision of independent shots and expresses ideas. There are different types of conflicts that can be used within film forms, including graphic, spatial, light, and temporal conflicts. Understanding pictorial symbolism, emotional dynamization, and the dialectic nature of montage can provide insight into analyzing film problems.
Film theory film form group 4 complete (1)
This document discusses a dialectic approach to film form. It proposes that a montage arises from the collision of independent shots rather than a rhythmic sequence. It also claims that the popular conception of movement in film coming from sequential still images blending is mistaken. The document outlines different types of conflicts that can be used in film form, including graphic, plane, volume, spatial, light, and temporal conflicts. It discusses pictorial symbolism and emotional dynamization in film to convey meaning and psychology.
Editing concepts
This document provides definitions and examples of various cinematic techniques used in film editing, including shot reverse shot, axis of action, eye line match, parallel editing, cut-in/cut-away, establishing shot, match on action, and graphic match. Examples are given from films like The Stendhal Syndrome, October, Yi Yi, and Dancer in the Dark to illustrate these concepts.
Editing
This document provides information about various film editing techniques including continuity, crosscutting, eyelines match, dissolves, match on action, rhythm, and montage. It explains each technique with definitions and examples from films. Crosscutting alternates shots of two storylines occurring simultaneously. An eyelines match shows what a character is looking at. A dissolve blends two shots together. A match on action splices two views of the same action. Rhythm contributes to a film's mood through editing, cinematography, and sound. Montage uses juxtaposition of shots to create new meanings.
Similar to The Unexpected (20)
The Unexpected
- 1. The Unexpected Doreen Brandon . Orlando Calvo . Tom Garitano Melanie Sampson . Renia Singleton . Brandon Strickland
- 2. WHAT IS IT THAT IS UNEXPECTED? Sergei saw how cinema began to develop. In Kabuki, Sergei Eisenstein saw effects that might be achieved through a camera.
- 3. What Surprised Eisenstein? Eisenstein praised the Japanese for their instinctive practice. He admired the Sergei also admired the mechanical cutting by fragmented acting. That's actors. The actor were where an actor would act able to break up their a scene with their single acting without transitions. body part. The next An actor was able to shift scene would be a their emotions, which was different body part. The similar to how Eisenstein time of each shirt would shifted emotions in the decrease, which would way he cut shots. cause more a dramatic affect.
- 4. How does Eisenstein relate his experience to cinema? He relates his experience with Japan and the Kabuki in many ways. One is he talks about the “Karauki-musume” is a melodramatic farce. How this ends in “incredible gloom” and for long intervals is criminally torn in both directions. (27)
- 5. His experience to cinema Cont. Eisenstein mentions that trying to combine elements is one of the hardest things to do. He also talks about how Charlie Chaplin was unable to balance tying the elements together. This shows how difficult it may be. Eisenstein also mentions the archaism of non-differentiated sense of “provocations” and “montage thinking.” (27) Eisenstein took away thins from the Kabuki theatre which he could relate to his own work.
- 6. What is Conventionalism? the philosophical attitude that fundamental principles of a certain kind are grounded on (explicit or implicit) agreements in society, rather than on external reality
- 7. Are conventional! How can such conventions move Europeans?!” Use a monistic ensemble “Sound-movement-space-voice don’t accompany another, but each are an element of significance.” KABUKI THEATRE
- 8. Montage A technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information.
- 9. Movies that show Montage
- 10. YouTube Clips http://www.youtube http://www.youtube .com/watch?v=XwN .com/watch?v=Sh7k 5ndR65QM VYYBNyk (over tonal) (UP)