Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London. (Especially “Methods of Montage”, pp.72-83)
5 thoughts on “Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London. (Especially “Methods of Montage”, pp.72-83)”
This part of the book focuses on the way of creating and using different types of montage in film editing. Eisenstein is well known by his contribution on developing Soviet Montage. He explains his five types of montage in the article, which are: metric, rhythmic, tonal, overtonal, and intellectual montage. We can find that in these five montages, the level of complexity is increasing from metric (least complex) to intellectual (most complex). In this part of article, the concepts and features of five montages are clearly illustrated with examples, such as metric montage emphasizes the length of shots relative to one another and rhythmic montage means matching actions and screen direction according to continuity, which can be clearly seen in the ‘Odessa Steps’ sequence of Potemkin (1925). In sum, studying Eisenstein’s montage will be helpful for our editing practices and also improve our knowledge on film editing history.
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 uses conflict-juxtaposition to create intellectual effect.
In this essay, Eisenstein discusses the varying forms of montage that are employed in different films, and the way that each method can be seen as a result of the limitations of the previous one. He explains how in metric montage, the lengths of shots are determined by a strict formula, similar to that seen in musical timing, adhering to the same metric proportions throughout the sequence. Rhythmic montage, transcends this strict formula by determining shot lengths abstractly based on the content of the shot. Tonal montage pushes this idea further, by determining shot length based on the “emotional sound” of the piece rather than being propelled by content and movements within the shot. Overtonal montage uses the same concept but applies it to the overtones put forward by the entire piece rather than the emotional tone of an individual shot or scene. Finally, Eisenstein puts forward the idea of Intellectual montage, an idea which seems to be a method of cutting that has a direct link to the activity of the brain and can have a direct and deliberate influence on the process of thought. The essay gives a useful insight into montage, particularly through its discussion of the evolution of the differing methods of montage.
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 article describes different approaches to montage, and how new methods arose from the “conflicts” between each method. In each method are differing motivators of change or progression in the montage. In one method of montage it may be the length of the shot which motivates change, while in another it may be the visual frame which does so. Eisenstein’s attention to detail is highlighted here as he divulges the minute elements that he considers when piecing together his work; the exact lengths of shots, lighting tones of a sky, the “rhythm” of a motion. In any case “conflict” is, yet again, pivotal to his discussion. There must be a collision of filmic elements as that is where “real cinematography begins”. The last montage, intellectual montage, appears to be the most revolutionary of the methods as it is described as being a “completely new form” where societal and political realisations occur, resulting from conflicts between all the preceding methods of montage.
Although this article was written by Eisenstein himself, and is likely to be the most authentic source of his ideas, his excitable and often abstract way of articulation makes it easy for the reader to misinterpret or confuse his intentions. Further reading on Eisenstein must be done in addition to this to allow for a clearer understanding of his theories.
This part of the book focuses on the way of creating and using different types of montage in film editing. Eisenstein is well known by his contribution on developing Soviet Montage. He explains his five types of montage in the article, which are: metric, rhythmic, tonal, overtonal, and intellectual montage. We can find that in these five montages, the level of complexity is increasing from metric (least complex) to intellectual (most complex). In this part of article, the concepts and features of five montages are clearly illustrated with examples, such as metric montage emphasizes the length of shots relative to one another and rhythmic montage means matching actions and screen direction according to continuity, which can be clearly seen in the ‘Odessa Steps’ sequence of Potemkin (1925). In sum, studying Eisenstein’s montage will be helpful for our editing practices and also improve our knowledge on film editing history.
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 uses conflict-juxtaposition to create intellectual effect.
In this essay, Eisenstein discusses the varying forms of montage that are employed in different films, and the way that each method can be seen as a result of the limitations of the previous one. He explains how in metric montage, the lengths of shots are determined by a strict formula, similar to that seen in musical timing, adhering to the same metric proportions throughout the sequence. Rhythmic montage, transcends this strict formula by determining shot lengths abstractly based on the content of the shot. Tonal montage pushes this idea further, by determining shot length based on the “emotional sound” of the piece rather than being propelled by content and movements within the shot. Overtonal montage uses the same concept but applies it to the overtones put forward by the entire piece rather than the emotional tone of an individual shot or scene. Finally, Eisenstein puts forward the idea of Intellectual montage, an idea which seems to be a method of cutting that has a direct link to the activity of the brain and can have a direct and deliberate influence on the process of thought. The essay gives a useful insight into montage, particularly through its discussion of the evolution of the differing methods of montage.
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 article describes different approaches to montage, and how new methods arose from the “conflicts” between each method. In each method are differing motivators of change or progression in the montage. In one method of montage it may be the length of the shot which motivates change, while in another it may be the visual frame which does so. Eisenstein’s attention to detail is highlighted here as he divulges the minute elements that he considers when piecing together his work; the exact lengths of shots, lighting tones of a sky, the “rhythm” of a motion. In any case “conflict” is, yet again, pivotal to his discussion. There must be a collision of filmic elements as that is where “real cinematography begins”. The last montage, intellectual montage, appears to be the most revolutionary of the methods as it is described as being a “completely new form” where societal and political realisations occur, resulting from conflicts between all the preceding methods of montage.
Although this article was written by Eisenstein himself, and is likely to be the most authentic source of his ideas, his excitable and often abstract way of articulation makes it easy for the reader to misinterpret or confuse his intentions. Further reading on Eisenstein must be done in addition to this to allow for a clearer understanding of his theories.