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
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, ...
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.
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
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.
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.
Nicholas Hytner 's adaptation of Arthur Miller 's The Crucible provides an interesting look into the life of the Puritans. The Crucible follows the small town of Salem as they are engulfed in the mass hysteria of witchcraft. A group of young girls is caught dancing in the woods, and thus fearing punishment claim that they were possessed by the devil. Soon the accusations run wild which resulted in the arrest of two-hundred peoples, and the execution of twenty. Today the film is regarded as an allegory for the McCarthy hearings, though it also provides an intimate look into the closed societies of colonial America. The film displays some of the themes presented in Scupins book Anthropology of Religion. Hytner’s work has become an excellent contemporary depiction of the leviathan-like power the Puritan Church had over the community, and their ability to rule through fear. Furthermore, Salam was a small, isolated town and was not exposed to outside ideas, this coupled with the Church 's power worked to demonize any outside forces. The film also depicts women 's relationship with witchcraft, and how accusations were used by the patriarchy to maintain their power over women, and how the young girls were able to gain power and influence through the act of accusation.
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.
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.
Sergei Eisenstein was a Russian film director, that was born in Riga (now, Latvia) in 1898 (Hoobler 75). Eisenstein is considered the innovator behind the montage style of movies
... 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.
Pudovkin was a Russian/ Soviet filmmaker and actor who also showed insight into the world of film editing. Many learnt from his “Five ...
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).... ...
David Bordwell. The Idea of Montage in Soviet Art and Film. – Cinema Journal, Vol. 1, No. 2, 1972, 9-17.
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.
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