Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London. (especially “Methods of Montage”, pp.72-83)
3 thoughts on “Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London. (especially “Methods of Montage”, pp.72-83)”
In the section Methods of Montage in Sergai Eisenstein’s book Film Form: Essays in Film Theory, he explains his idea of Montage and the different types of montage that he has created. He uses dot point form to clearly outline each method, which allows the readers to have a good understanding of his ideas. Furthermore, Eisenstein talks a lot about the relationship between music and editing – either making sure the beat is in time to the cut or that everything works together to create a perfect tone for the piece.
At the end of the chapter the readers are left with a precise concept of Eisenstein’s methods and you are able to see how they have influenced editing over time.
In the section Methods of Montage in Sergai Eisenstein’s book Film Form: Essays in Film Theory, he explains his idea of Montage and the different types of montage that he has created. He uses dot point form to clearly outline each method, which allows the readers to have a good understanding of his ideas. Furthermore, Eisenstein talks a lot about the relationship between music and editing – either making sure the beat is in time to the cut or that everything works together to create a perfect tone for the piece.
At the end of the chapter the readers are left with a precise concept of Eisenstein’s methods and you are able to see how they have influenced editing over time.
In the chapter of “Methods of Montage”, the author lists and discusses a few montage forms including Metric Montage, meaning “absolute lengths of the pieces” that are put together out of the lengths. The second is Rhythmic Montage in which actual lengths do not matter that much and a more flexible relationship is given. The third is Tonal Montage, in which the movement of the story is placed under a wider sense and it is based on a sort of fixed emotional context. Overtonal Montage refers to a highest development of tonal montage. Intellectual Montage is more telling of the intellectual affect through the storytelling.
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.
In the section Methods of Montage in Sergai Eisenstein’s book Film Form: Essays in Film Theory, he explains his idea of Montage and the different types of montage that he has created. He uses dot point form to clearly outline each method, which allows the readers to have a good understanding of his ideas. Furthermore, Eisenstein talks a lot about the relationship between music and editing – either making sure the beat is in time to the cut or that everything works together to create a perfect tone for the piece.
At the end of the chapter the readers are left with a precise concept of Eisenstein’s methods and you are able to see how they have influenced editing over time.
In the section Methods of Montage in Sergai Eisenstein’s book Film Form: Essays in Film Theory, he explains his idea of Montage and the different types of montage that he has created. He uses dot point form to clearly outline each method, which allows the readers to have a good understanding of his ideas. Furthermore, Eisenstein talks a lot about the relationship between music and editing – either making sure the beat is in time to the cut or that everything works together to create a perfect tone for the piece.
At the end of the chapter the readers are left with a precise concept of Eisenstein’s methods and you are able to see how they have influenced editing over time.
In the chapter of “Methods of Montage”, the author lists and discusses a few montage forms including Metric Montage, meaning “absolute lengths of the pieces” that are put together out of the lengths. The second is Rhythmic Montage in which actual lengths do not matter that much and a more flexible relationship is given. The third is Tonal Montage, in which the movement of the story is placed under a wider sense and it is based on a sort of fixed emotional context. Overtonal Montage refers to a highest development of tonal montage. Intellectual Montage is more telling of the intellectual affect through the storytelling.
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.