Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory . Harvest, London. “A Dialectic Approach to Film Form”, pp.45-62
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In this chapter, Eisenstein argues a concept called ‘dynamic comprehension’. So what is dynamic comprehension? It means our comprehension on an art work can be and often is dynamic. He indicates that ‘fundamental principle for the existence of every artwork and every art-form’, which can be easily seen in films. For example, montage is powerful and sometime also abstract and ambiguous, so it becomes a question that whether if audiences get the director’s intention or they make up their own unique understanding. As Eisenstein suggests, art is always conflicting and dynamic, as well as montage which even enhances the degree of it. Anyway, it is a theoretic and not easy to understand chapter, especially in page 46 and 50, massive information, dialectical discussion and concepts are mentioned, it will be a good source for people studying academic film studies.
In this chapter, Eisenstein argues a concept called ‘dynamic comprehension’. So what is dynamic comprehension? It means our comprehension on an art work can be and often is dynamic. He indicates that ‘fundamental principle for the existence of every artwork and every art-form’, which can be easily seen in films. For example, montage is powerful and sometime also abstract and ambiguous, so it becomes a question that whether if audiences get the director’s intention or they make up their own unique understanding. As Eisenstein suggests, art is always conflicting and dynamic, as well as montage which even enhances the degree of it. Anyway, it is a theoretic and not easy to understand chapter, especially in page 46 and 50, massive information, dialectical discussion and concepts are mentioned, it will be a good source for people studying academic film studies.