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Soviet Montage, 1925- 1933 Lecture 17
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Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Jan 19, 2016

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Page 1: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Soviet Montage, 1925-1933

Lecture 17

Page 2: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Dialectics of Form:

Eisenstein:“The shot and montage are the basic elements of

cinema”

“The shot appears as the cell of montage.” (organic metaphor)

“So, montage is conflict.”

THEN: There must be conflict in the shot as well.

Page 3: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Conflict within the shot• 1) Shot (enframed image)—– Graphic conflict– Conflict of planes– Conflict of volume– Light conflict– Spatial conflict– Conflict between matter and viewpoint (ex: canted and other

camera angles)– Conflict between matter and its spatial nature (ex: optical

distortion)– Conflict between an event and its temporal nature (ex: slow

motion, fast motion, stop-motion)– Conflict between optical complex and different sphere (ex:

conflict between image and sound)

Page 4: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

GRAPHIC CONFLICT WITHIN THE SHOT

Page 5: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

CONFLICT OF VOLUME, LIGHT, PLANES, SPACE

Page 6: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

GRAPHIC CONFLICT/LIGHT CONFLICT

Page 7: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

CONFLICT OF VOLUMES

Page 8: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

SPATIAL CONFLICT (CONFLICT OF DEPTH)

Page 9: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

CONFLICT BETWEEN MATTER AND VIEWPOINT (ex: camera angles)

Page 10: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

CONFLICT BETWEEN MATTER AND ITS SPATIAL NATURE (ex: optical distortion)

From Man with a Movie Camera

Page 11: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Conflict between an event and its temporal nature (ex: slow motion, fast motion, stop-motion)

Page 12: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

CONFLICT BETWEEN SHOTS (IN EDITING)

• 2) Montage (editing)—conflict between shots– Graphic conflict– Conflict of planes– Conflict of volume– Light conflict– Spatial conflict– Tempo conflict

– Association montage

– Intellectual montage

Physiological effects produced by optical

means

Emotional effects produced by psychological means

New Ideas and attitudes

Page 13: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Conflict between shots (in editing)

Page 14: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Tempo Conflict

Page 15: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

TEMPO CONFLICT

Page 16: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Eisenstein: “Association Montage”

Produces emotional effects by psychological means

Page 17: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Ex: “Association Montage”non-diegetic insert

From Strike (1925)

Page 18: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Eisenstein: “Intellectual Montage”

Produces new ideas and attitudes

Page 19: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Eisenstein: “Intellectual Montage”Each shot is like an ideogram

Ideogram—a written character symbolizing the idea of a thing without indicating the sounds used to say it

Page 20: Soviet Montage, 1925-1933 Lecture 17. Dialectics of Form: Eisenstein: “The shot and montage are the basic elements of cinema” “The shot appears as the.

Ex 1: “Intellectual Montage”non-diegetic insert

Overlapping editing

From October (1927)Kerensky, stairs, and the mechanical peacock