Wang, B, Kaplan, E A 2004, Trauma and Cinema: Cross- Cultural Explorations, Hong Kong University Press, Aberdeen, Hong Kong, pp. 230- 235.

One thought on “Wang, B, Kaplan, E A 2004, Trauma and Cinema: Cross- Cultural Explorations, Hong Kong University Press, Aberdeen, Hong Kong, pp. 230- 235.

  1. This excerpt considers montage and the long take in terms of Chinese cinema. It regards montage, in the form of fast- paced cutting between shots, as the polar opposite of the long take, which in the source is described as a stationary camera filming a space. It also draws a connection to Pudovkin and Eisenstein’s views on montage; Pudovkin’s writing being largely attributed to Hollywood and the subsequent Chinese Filmmakers’ adherence to Pudovkin in alignment with their preference for Hollywood.
    The excerpt again reveals an interesting tendency for certain filmmaking cultures and their methods of montage. The source’s comparison between Eisenstein and Pudovkin- with Eisenstein’s montage ‘mimic[ing] the volatile experience of modernity’ and Pudovkin’s montage as ‘naturalised, smooth continuous narrative’ is also interesting. Once again, the source identifies a clear line between the long take and montage as two separate concepts.

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