8/31/2023 0 Comments Intellectual montage meaning![]() Maybe I’m getting a little nerdy here, but the technique in question, which I was startled by, was what Eisenstein called “intellectual montage”. I liked it a lot and although the themes presented was very interesting and multiple times touching, the thing I was most blown away by was Mambéty’s ingenious use of editing/montage to create semiosis. At the end of Apocalypse Now the execution of Colonel Kurtz is juxtaposed with the villagers’ slaughter of a water buffalo.I just saw Touki Bouki (1973) for the first time and I thought I would share some thoughts and read what you think.The murders thus “baptize” Michael into a life of crime. In The Godfather, during Michael’s nephew’s baptism, the priest performs the sacrament of baptism while we see killings ordered by Michael take place elsewhere. This meaning does not exist in the individual shots it only arises when they are juxtaposed. 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. Intellectual montage examples from Eisenstein’s October and Strike.Intellectual – uses shots which, combined, elicit an intellectual meaning. 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. Overtonal example from Pudovkin’s Mother.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. This is the clip following the death of the revolutionary sailor Vakulinchuk, a martyr for sailors and workers. Tonal example from Eisenstein’s The Battleship Potemkin.For example, a sleeping baby would emote calmness and relaxation. 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. ![]() Another rhythmic montage example from The Battleship Potemkin‘s “Odessa steps” sequence.Rhythmic montage example from Il Buono, il Brutto, il Cattivo where the protagonist and the two antagonists face off in a three-way duel.Once sound was introduced, rhythmic montage also included audial elements (music, dialogue, sounds). Rhythmic – 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. Metric montage example from Eisenstein’s October.This montage is used to elicit the most basal and emotional of reactions in the audience. 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. His collisions of shots were based on conflicts of scale, volume, rhythm, motion (speed, as well as direction of movement within the frame), as well as more conceptual values such as class. This basis allowed him to argue that montage is inherently dialectical, thus it should be considered a demonstration of Marxism and Hegelian philosophy. Kuleshov Workshop – Experiment Eisenstein’s Montage Theory, fromWikipediaĮisenstein’s montage theories are based on the idea that montage originates in the “collision” between different shots in an illustration of the idea of thesis and antithesis. Vertov’s Man with the Movie Camera ( Chelovek s kinoapparatom, USSR, 1929) celebrates the power of the cinema to create a new reality out of disparate fragments.” Yale University Film School In a constructivist tradition such as Soviet Montage cinema, there is no such false modesty. In the classical continuity style, editing techniques avoid drawing attention to themselves. In the analytical tradition, editing serves to establish space and lead the viewer to the most salient aspects of a scene. There are many ways of effecting that transition, some more evident than others. “The shot is defined by editing but editing also works to join shots together. Rear Window Illustration of Principles of Continuity Editing Soviet Montage Griffith, The Adventures of Dolly (1908)īuster Keaton, The Neighbors (1920) Continuity Editing Also read the material on Soviet Montage.ĭ.W. ![]() Griffith, as well as examples of Metric, Rhythmic, Tonal, Overtonal, Intellectual Montage. ![]() Please review an early and late film by D.W.
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