Eisenstein, S. 1949. Film Form: Essays in Film Theory. Harvest, London. (pp. 15-25)
5 thoughts on “Eisenstein, S. 1949. Film Form: Essays in Film Theory. Harvest, London. (pp. 15-25)”
In the chapter of “Beyond the Shot”, the author discusses in detail that a shot is filled with fragments in it and when shots are combined together under some certain logic, it starts to form into a montage and therefore shot is firstly and most profoundly based on ideas. The author also mentions that he regards montage as a sort of collision and when collision is filled up with different elements, it starts to form a specific idea. The relationship between collision and shot is that the shot is a zigzag of collision while it contains some intensifying indication.
This chapter lists 5 different types of montages. It also makes comparison and connection between each of them.
Metric montage
In Metric montage, different lengths of pieces are joined together. The method used here is called complicated irregularity. This over-complexity way of the metric beat creates an impression of chaos.
Rhythmic montage
In rhythmic montage, the length derives from the piece’s actual specifics. According to the structure of the sequence, also from its planned length. The content in the frame impels the montage movement from one frame to another. In the cases of rhythmic montage, audience is aroused by the impression of confusing.
Tonal montage
In tonal montage, according to the name, it is based on the general tone of the piece, the characteristic emotional sound of the piece. The units and the amount to be measured in this one are different compared to metric montage. Both rhythmic montage and tonal montage are a special variation of metric montage. It also combines the movements of change and light-vibration.
Overtonal montage
Overtonal montage is the furthest development of tonal montage. These four categories are methods of montage. ‘They become montage constructions proper when they enter into relations of conflict with each other’. The conflict between metric and rhythm is the length of the shot and the movement within the frame. The overtonal montage creates the conflict of the principal tone of the piece and overtone.
Intellectual montage
Intellectual montage is the montage with intellectual sort with sounds and overtones, conflict-juxtaposition of accompanying intellectual affects. It contains all of the principals of the above montages but has a higher dominion position.
This chapter lists five different montages. To clarify the concept of them, plenty of film examples are listed as well. The specific scenes in these films are also described. In addition it makes connections and comparison between each montage. What’s more, these five montage type is listed in a further and deeper way to makes the reader has a systematic understanding of montage.
This chapter is very useful and supportive for my research on different types of montage. It provides five different montages with specific description of how it works and applies in films. The film examples are my learning resource and it will help me to a further understanding of different montage.
Eisenstein’s explanations are not an easy thing to grasp, but I found that in Methods of Montage some of the passages relating to how different editing techniques can build tension were relevant to my understanding of audience perception.
Eisenstein introduces five formal categories of Montage. The first one is metric montage. Metric montage discusses the length of shots. Through shortening the length of shots, while keep the original proportion of it, the shots have more tension. However, the author also mentioned if the director use over complicated metric beats, the film would produce chaotic impressions, rather than emotional intension. Moreover, the more effective way to emphasize the intension of one event is finding a tempo. The metric montage is inadequate for more complicate rhythmic needs, so another montage form has been appeared which people called rhythmic montage. Tonal montage beyond the stage of rhythm montage, because in this montage, the movement is observed in a wide sense. And it based on the tone of the pieces, and focus on the characteristic emotional sound. Overtonal montage is a furthest development of tonal montage. It is more empathizes the tone of the whole film. The last montage form is intellectual montage. For example, this montage usually use conflict-juxtaposition to create intellectual effect.
In this text, Eisenstein breaks down the methods of montage into four categories; metric, rhythmic, tonal and overtonal. He describes metric montage as being mostly about the tempo or rhythm of the ‘absolute length’ of the piece through cuts, rather than the contents of the shots. Tension is obtained by, while maintaining the original formulaic structure, shortening the pieces. Rhythmic montage is explained as being a reference to when the content within the frame is in equal consideration to the rhythm of the piece. Eisenstein describes tonal montage as having a wider perception of movement and is builds around the ’emotional sound’ of the piece and explains overtonal montage as the furthest development of tonal montage. This text goes into details about metric montage’s simplicities and complexities of the metric beat and how an over-complicated formula can ‘produce a chaos of intensions’ (pg.73) and this may be an interesting niche topic to look further into.
In the chapter of “Beyond the Shot”, the author discusses in detail that a shot is filled with fragments in it and when shots are combined together under some certain logic, it starts to form into a montage and therefore shot is firstly and most profoundly based on ideas. The author also mentions that he regards montage as a sort of collision and when collision is filled up with different elements, it starts to form a specific idea. The relationship between collision and shot is that the shot is a zigzag of collision while it contains some intensifying indication.
This chapter lists 5 different types of montages. It also makes comparison and connection between each of them.
Metric montage
In Metric montage, different lengths of pieces are joined together. The method used here is called complicated irregularity. This over-complexity way of the metric beat creates an impression of chaos.
Rhythmic montage
In rhythmic montage, the length derives from the piece’s actual specifics. According to the structure of the sequence, also from its planned length. The content in the frame impels the montage movement from one frame to another. In the cases of rhythmic montage, audience is aroused by the impression of confusing.
Tonal montage
In tonal montage, according to the name, it is based on the general tone of the piece, the characteristic emotional sound of the piece. The units and the amount to be measured in this one are different compared to metric montage. Both rhythmic montage and tonal montage are a special variation of metric montage. It also combines the movements of change and light-vibration.
Overtonal montage
Overtonal montage is the furthest development of tonal montage. These four categories are methods of montage. ‘They become montage constructions proper when they enter into relations of conflict with each other’. The conflict between metric and rhythm is the length of the shot and the movement within the frame. The overtonal montage creates the conflict of the principal tone of the piece and overtone.
Intellectual montage
Intellectual montage is the montage with intellectual sort with sounds and overtones, conflict-juxtaposition of accompanying intellectual affects. It contains all of the principals of the above montages but has a higher dominion position.
This chapter lists five different montages. To clarify the concept of them, plenty of film examples are listed as well. The specific scenes in these films are also described. In addition it makes connections and comparison between each montage. What’s more, these five montage type is listed in a further and deeper way to makes the reader has a systematic understanding of montage.
This chapter is very useful and supportive for my research on different types of montage. It provides five different montages with specific description of how it works and applies in films. The film examples are my learning resource and it will help me to a further understanding of different montage.
Eisenstein’s explanations are not an easy thing to grasp, but I found that in Methods of Montage some of the passages relating to how different editing techniques can build tension were relevant to my understanding of audience perception.
Eisenstein introduces five formal categories of Montage. The first one is metric montage. Metric montage discusses the length of shots. Through shortening the length of shots, while keep the original proportion of it, the shots have more tension. However, the author also mentioned if the director use over complicated metric beats, the film would produce chaotic impressions, rather than emotional intension. Moreover, the more effective way to emphasize the intension of one event is finding a tempo. The metric montage is inadequate for more complicate rhythmic needs, so another montage form has been appeared which people called rhythmic montage. Tonal montage beyond the stage of rhythm montage, because in this montage, the movement is observed in a wide sense. And it based on the tone of the pieces, and focus on the characteristic emotional sound. Overtonal montage is a furthest development of tonal montage. It is more empathizes the tone of the whole film. The last montage form is intellectual montage. For example, this montage usually use conflict-juxtaposition to create intellectual effect.
In this text, Eisenstein breaks down the methods of montage into four categories; metric, rhythmic, tonal and overtonal. He describes metric montage as being mostly about the tempo or rhythm of the ‘absolute length’ of the piece through cuts, rather than the contents of the shots. Tension is obtained by, while maintaining the original formulaic structure, shortening the pieces. Rhythmic montage is explained as being a reference to when the content within the frame is in equal consideration to the rhythm of the piece. Eisenstein describes tonal montage as having a wider perception of movement and is builds around the ’emotional sound’ of the piece and explains overtonal montage as the furthest development of tonal montage. This text goes into details about metric montage’s simplicities and complexities of the metric beat and how an over-complicated formula can ‘produce a chaos of intensions’ (pg.73) and this may be an interesting niche topic to look further into.