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Eisenstein 5 methods of montage
Sergei Mikhailovich Eisenstein ( 22 January 1898 – 11 February 1948) was a Soviet Russian film director and film theorist, a pioneer in the theory and practice of montage. He is noted in particular for his silent films Strike (1925), Battleship Potemkin (1925) and October (1928), as well as the historical epics Alexander Nevsky (1938) and Ivan the Terrible (1944, 1958).
Eisenstein montage theory
A montage sequence is a technique in editing (i.e. using rapid editing, special effects and music) in a series of short shots edited into a sequence to condense narrative. It is usually used to advance the story as a whole (often to suggest the passage of time), rather than to create symbolic meaning as it does in Soviet montage theory. From the 1930s to the 1950s, montage sequences often combined numerous short shots with special optical effects (fades, dissolves, split screens, double and triple exposures) and music.
Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing (montage is French for "putting together"). Although Soviet filmmakers in the 1920s disagreed about how exactly to view montage, Sergei Eisenstein marked a note of accord in "A Dialectic Approach to Film Form" when he noted that montage is "the nerve of cinema," and that "to determine the nature of montage is to solve the specific problem of cinema
Eisenstein believed that film montage could create ideas or have an impact beyond the individual images. Two or more images edited together create a "tertium quid" (third thing) that makes the whole greater than the sum of its individual parts.
5 methods of montage
1. Metric - where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. This montage is used to elicit the most basal and emotional of reactions in the audience. * Metric montage example from Eisenstein's October.
2. Rhythmic - The cutting happens for the sake of continuity. This creates visual continuity but it may also be used in order to keep with the pace of the film. includes cutting based on time, but using the visual composition of the shots -- along with a change in the speed of the metric cuts -- to induce more complex meanings than what is possible with metric montage. Once sound was introduced, rhythmic montage also included audial elements (music, dialogue, sounds). * Rhythmic montage example from The Battleship Potemkin's "Odessa steps" sequence.
3. Tonal - a tonal montage uses the emotional meaning of the shots -- not just manipulating the temporal length of the cuts or its rhythmical characteristics -- to elicit a reaction from the audience even more complex than from the metric or rhythmic montage. For example, a sleeping baby would emote calmness and relaxation. * Tonal example from Eisenstein's The Battleship Potemkin. This is the clip following the death of the revolutionary sailor Vakulinchuk, a martyr for sailors and workers. Montage: methods of montage cont.
4. Overtonal/Associational - the overtonal montage is the cumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicated effect. * Overtonal example from Pudovkin's Mother. In this clip, the men are workers walking towards a confrontation at their factory, and later in the movie, the protagonist uses ice as a means of escape.
5. Intellectual - uses shots which, combined, elicit an intellectual meaning. * Intellectual montage examples from Eisenstein's October and Strike. In Strike, a shot of striking workers being attacked cut with a shot of a bull being slaughtered creates a film metaphor suggesting that the workers are being treated like cattle. This meaning does not exist in the individual shots; it only arises when they are juxtaposed
- المخرج شاهر يوسف - مخرج و مدرب تمثيل - درس الاخراج السينمائي بــ نيويورك فيلم اكاديمي ابوظبي - درس على يد المخرج الراحل د/ سمير سيف