Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London, pp. 72-83.
One thought on “Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London, pp. 72-83.”
This passage details a comprehensive description of different modes or levels of montage that can be used to create meaning in a sequence. It treats montage as a solid construct, and the different modes are presented as formulas for creating a visual narrative. Eistenstein’s proposed montage methods, described as metric, rhythmic, tonal, overtonal and intellectual montage, are all explained as methods of creating narrative rhythm, and their individual characteristics and collective similarities are compiled into a guide for creating montage as a student of the filmic arts.
Though Eisenstein’s language is dense and his description of visual elements as ‘sounds’ is confusing, his concept of montage as differing modes is comprehensive and intensely detailed. His emphasis on the rhythmic elements of the cut in metric and rhythmic montage is useful in creating an understanding of rather regimented montage techniques. What is interesting, however, is the passage’s explanation of the other three modes, which place much more importance on the contents and emotion of the shot, with the cut as an accessory to the visual elements; this is advantageous in understanding the role of both the cut and the shot in differing montage techniques.
The passage is a comprehensive guide to montage modes and techniques. Eistenstein’s clear description of each mode aids in describing ways to tell a visual story through montage; but an added bonus of this passage is that he details links between the various modes so the reader can use them either by themselves or interchangeably, meaning that a multifaceted understanding can be reached by applying the theory to practical activities.
This passage details a comprehensive description of different modes or levels of montage that can be used to create meaning in a sequence. It treats montage as a solid construct, and the different modes are presented as formulas for creating a visual narrative. Eistenstein’s proposed montage methods, described as metric, rhythmic, tonal, overtonal and intellectual montage, are all explained as methods of creating narrative rhythm, and their individual characteristics and collective similarities are compiled into a guide for creating montage as a student of the filmic arts.
Though Eisenstein’s language is dense and his description of visual elements as ‘sounds’ is confusing, his concept of montage as differing modes is comprehensive and intensely detailed. His emphasis on the rhythmic elements of the cut in metric and rhythmic montage is useful in creating an understanding of rather regimented montage techniques. What is interesting, however, is the passage’s explanation of the other three modes, which place much more importance on the contents and emotion of the shot, with the cut as an accessory to the visual elements; this is advantageous in understanding the role of both the cut and the shot in differing montage techniques.
The passage is a comprehensive guide to montage modes and techniques. Eistenstein’s clear description of each mode aids in describing ways to tell a visual story through montage; but an added bonus of this passage is that he details links between the various modes so the reader can use them either by themselves or interchangeably, meaning that a multifaceted understanding can be reached by applying the theory to practical activities.