Sergie Eisenstein explored the idea of creating and intellectual cinema in three essays which were composed in 1929:Beyond the Shot, The Dramaturgy of Film Form and The Forth Dimension in Cinema .A central concern in these works is how a series of images can when correctly composed by the filmmaker and then interpreted by the viewer, produce an abstract concept not strictly present in each of the composite images. The following examples of the hieroglyphs are used by Eisenstein to illustrate a process of meaning generation which can be adopted by the cinema in the service of intellectual montage. Eye plus water equals crying, child plus mouth equals screaming, knife plus heart equals anxiety etc.In response to the idea of the ideogram, Eisenstein concluded that montage is an idea that derives from the collision between two shots that are independent of one another. His objective was to find ways in which a series of mental representations of empirical reality(visible and non visible) can be combined to produce abstract notions …show more content…
Eisenstein was a Soviet director who was grew up watching Griffith's films and learned much of his editing skills by watching faded prints of Griffith's Intolerance many times. By watching the films he was able to master not only how Griffith used editing to create drama, but he started to separate the different techniques and formed theories encircle around them. These various 'montage' theories covered the different ways to edit a scene, or rather ideas around which a scene should be edited. For example, metric montage focuses entirely on a steady pace of cuts, wholly non-aligned of the content within the frame. Eisenstein viewed this the most basic of the theories. This is compared with rhythmic montage, which has a focus on pace but considers the elements within the frame, and tonal montage, which is cutting based on the similarity of the light and dark elements within the
This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.
That’s the very meaning of Griffith’s practicality, the formation of a filmic style that accompaniments to this very day, in many different ways. The changes and alterations, and that reflect the creator’s sureness that cinematic symbols, ...
Norstein has a very original, particular style to his animations and the purpose of this essay is to critically analyse the form and ideology of one of his animations with the intention of discovering what it is that makes his artwork so unique and has led to him being regarded as one of the greatest animators in history?. The method by which this will be done will be to firstly report the elements and functions that went into forming Norstein?s animations and ?Hedgehog in the Fog? in particular, then to analyse how these elements .mix with his personal influences to imply further meaning within his work.
In the documentary “Fed Up,” sugar is responsible for Americas rising obesity rate, which is happening even with the great stress that is set on exercise and portion control for those who are overweight. Fed Up is a film directed by Stephanie Soechtig, with Executive Producers Katie Couric and Laurie David. The filmmaker’s intent is mainly to inform people of the dangers of too much sugar, but it also talks about the fat’s in our diets and the food corporation shadiness. The filmmaker wants to educate the country on the effects of a poor diet and to open eyes to the obesity catastrophe in the United States. The main debate used is that sugar is the direct matter of obesity. Overall, I don’t believe the filmmaker’s debate was successful.
Released September 29, 1950, Sunset Boulevard is a film noir of a forgotten silent film star, Norma Desmond, that dreams of a comeback and an unsuccessful screenwriter, Joe Gillis, working together. Ultimately an uncomfortable relationship evolves between Norma and Joe that Joe does not want a part of. Sunset Boulevard starts off with an establishing shot from a high angle shot with a narrative leading to a crime scene from a long shot (a dead body is found floating in a pool), this narrative throughout the film establishes a formalist film.
Vertov uses montage make the viewer understand the connection between individual potential and societal potential, and furthermore, how technology is able to factor into this connection. To achieve his goal, Vertov uses one scene which begins with a close-up, eye-level of a woman cleaning her face with a towel (Vertov, 11’42”-12’11”). The use of a close-up, eye-level shot pins the viewer on the woman’s eyes. The woman abruptly peers up, and as she does so, Vertov fluidly cross cuts to a close up shot of blinds of a window looking out the city opening, successfully blending together the motion of both shots. The window of the house is a unit of the community, and by blending the motion of the woman’s eyes with the blinds of the windows house, Vertov establishes the woman as a unit of her greater society. Vertov uses another crosscut to connect the shot of the blinds to a close up shot of a camera. The camera focuses in and out on a subsequent close-up shot of flowers. Just as the woman can use
The Three Here’s for Cooking The romantic comedy, Today’s Special, expressed the worries of Indian parents becoming at ease. Also, expressed the struggles a parent faces in search of a better life, the passion and dedication going unnoticed in the work field, and the connection between friends, a lover, and family. However, the film centered its attention more on the development of Samir’s “cold” cooking within the Indian food, with the help of Akbar. In addition, the main actors in the film looked the part and associated with the main idea of the culture of an Indian family. For instance, Samir’s appearance showed he had drifted away from his family’s culture and developed a professional understanding and love for the cooking industry.
The popularity of the dialectical approach was fostered by the upheaval in Russia during the early 20th Century. As communism rose in popularity, Eisenstein believed a Marxist dialectical approach in regards to montage was the foundation of cinema, stating, “Cinematography is, first, and foremost, montage”. He expressed this idea in his films, such as in Battleship Potemkin. On a larger social scale, Eisenstein wished to use his
...s appeared not so much to matter as the fact that he developed new techniques, devised camera approaches and sought always to bring out the potential of a still developing form. That he forgot--or overlooked--to bring the Marxist message to one of his films two years ago brought him that fatal kiss of all--the accusation from the authoritative Soviet magazine, Culture and Life, that his productions had been short on the prescribed Soviet requirement of art and interpretation of history” ("Sergei Eisenstein is Dead in Moscow”, New York Times, 1948) . In film, Eisenstein was known for his development of the montage sequence, his unusual juxtapositions, and his life-like imagery. In life he was known for his propaganda and belief in the plight of the working class. Eisenstein left an inevitable mark on his community, his time, the shape of a sub-culture, and his art.
... movie stars like royalty or mythical gods and goddesses, viewing the drama between great archetypal characters in a personal psychic realm. By considering the statements made and their societal impact from a Marxist perspective, Benjamin’s method is highly effective, as it does not simply consider art in terms of pure aesthetics anymore, but considers art’s place in a society capable of mechanically reproducing and endlessly duplicating film, photography, and digital art. His qualm with losing the aura and mystique of an original work is negated by the cult of movie stars, the adoration of fame, the incorporation of soundtracks which embody a particular time period, cinematographic allusions, and time-capsule-like qualities of a film such as Basquiat, a 90s tribute to the 80s, produced both as a part of and resulting from the art movements and trends it addresses.
...her. This typified in the Odessa sequence of Battle Potemkin. Over-tonal montage is when we employ all these techniques to build a scene. The viewer feels they are no longer just watch a bundle of shots but rather an event that is unfolding before them. Intellectual montage is when one edits to shots together to create a third, intellectual meaning. The scene is no longer is only about what we see; the shots are more of a visual metaphor for a greater theme.
Even though the still picture and the theatrical play also give the spectator either a visual or an aural image, a motion picture is the one that stimulates the spectator’s senses with its story, color, sound, acting, filming, and editing. Based on Munsterberg’s film theory, what makes a motion picture so distinct from other mediums is that it has several characteristic processes of attention, memory, imagination, emotion, and unity. In the book The Major Film Theories, he says that “Munsterburg had a hierarchic notion of the mind; that is, he felt it was comprised of several levels. Each level evolves chaos of undistinguished stimuli by a veritable act, virtually creating the world of objects, events, and emotions that each of us live in” (Andrew 18).... ...
In the 1920s, artist like Sergei Eisenstein, Dziga Vertov and Vsevolod Pudovkin started experimenting with the new technique in their abstractfilms which is known as montage. Montage which is a synonym for Editing is a technique where two or more shots are juxtaposed which create a new meaning thatis not existent looking at the shots individually (Manovich, 2001). Few of the early examples of films using this technique are The Battleship Potemkin(1925) by Eisenstein and Man with a Movie Camera(1929) by Vertov.Montages are widely used in many other TV production areas like Advertisement, Dramas, News Programs and Music Videos. The Music Videos make excessive use of montages for the imagery in theirsongs; one of the examples is The Buggles- Video Killed the Radio Star (1971) which was the first music video to be shown on television at launch of MTV in 1981. Both Films and Music Videos use different approach towards editing of their shots, which plays a major role in maintaining balance between audio and visual information.
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.