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Soviet Montage, 1925-1933
Lecture 8
Dialectics
THESIS 1 + ANTI-THESIS 1 = SYNTHESIS 1
SYNTHESIS 1 (THESIS 2) + ANTI-THESIS 2 = SYNTHESIS 2
…EISENSTEIN: “The foundation of this philosophy is a dynamic
concept of things: Being—as a constant evolution from the interaction of two contradictory opposites.
Synthesis—arising from the opposition between thesis and antithesis.”
Eisenstein:“By collision. By the conflict of two pieces of film in opposition to each other from the collision of two given factors arises a concept.”
October (1927):Dialectics of narrative
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.
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.
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)
GRAPHIC CONFLICT WITHIN THE SHOT
CONFLICT OF VOLUME, LIGHT, PLANES, SPACE
GRAPHIC CONFLICT/LIGHT CONFLICT
• _Battleship Potemkin_ stairs clip
CONFLICT OF VOLUMES
SPATIAL CONFLICT (CONFLICT OF DEPTH)
• Bridge clip from _October_
CONFLICT BETWEEN MATTER AND VIEWPOINT (ex: camera angles)
CONFLICT BETWEEN MATTER AND ITS SPATIAL NATURE (ex: optical distortion)
From Man with a Movie Camera
Conflict between an event and its temporal nature (ex: slow motion, fast motion, stop-motion)
• Clip from _Man with a Movie Camera_
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
Conflict between shots (in editing)
Tempo Conflict
• _October_ gunner clip
TEMPO CONFLICT
Eisenstein: “Association Montage”
Produces emotional effects by psychological means
Ex: “Association Montage”non-diegetic insert
From Strike (1925)
The Peacock
Ex: “Association Montage”non-diegetic insert (also an example of overlapping editing)
From October (1927)—Kerensky peacock sequence
Eisenstein: “Intellectual Montage”
Produces new ideas and attitudes
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
Ex 1: “Intellectual Montage”non-diegetic insert
Overlapping editing
From October (1927)Kerensky, stairs, etc…
• Clip from _October_ palace sequence
Ex 2: “Intellectual Montage”non-diegetic inserts
From October (1927)“For God and Country…”
• Clip
Intellectual or Association Montage?
• Clip
Eisenstein:• The shot is a montage cell.• Just as cells in their division form a phenomenon
of another order… so on the other side of the dialectical leap from the shot, there is montage.
• … from the collision [conflict] of two given factors [shots] arises a concept.
• While the conventional film directs the emotions, this [intellectual montage] suggests an opportunity to encourage and direct the whole thought process, as well.
EX: “INTELLECTUAL MONTAGE”
From October (1927)