Eisenstein and the Cinema of Montage Essay Example | Topics and Well Written Essays - 2750 words

Eisenstein and the Cinema of Montage - Essay Examplere vigorous productions which knell through film theory to this day.However, this is non simply a paper on the history of Soviet silent film-it s an investigation into the significant innovations from this epoch. Many talented men entered this field over a short span of years and produced works deserving of attention and note, including Vsevolod Pudovkin, Fridrikh, Grigorii Kozintsev, Abram Room and Leonid Trauberg. Yet it is the development of a distinct theory of montage that still reverberates, and this theme is around apparent in the work of Sergei Eisenstein, most notably in the 1925 film Battleship Potemkin.For the Eisenstein of the silent film era, montage ... n quite st cheatling, juxtapositions of duck soups.5 His books stress the core significance of the idea, as we must fully recall the characteristics of cinemas effect that we stated ab initio and that establishing the montage approach as the essential, meaningful and sole possible language of cinema. 6 In this manner, The shot is by no means an element of montage. The shot is a montage cell. 7 As the dictation on Sound, released jointly by the formalist filmmakers Eisenstein, Pudovkin and Alexandrov in 1928 clearly states, The success of Soviet pictures on world screens is to a significant extent the result of a number of those concepts of montage which they first revealed and asserted.8 Although the concept of montage was a distinctly Soviet one, that does not mean it was alternative or on the fringe in that country. The atomic number 82 directors of the era openly acknowledged the importance of the technique, and were pleased that it helped distinguish a Soviet school of cinema, to the superman that these men issued joint statements to that effect.In terms of modern scholarship, a review of the Soviet montage method typically focuses on the contribution of Eisenstein, for his was the most brazen and distinct use of the method. He propa gated this method not only in his work but in his numerous writings on films. The swift thinning and visual juxtapositions read in a very distinct way from contemporary, non-Soviet cinema. In 1927, his films were referred to as plotless cinema by Adrian Piotrovsky, because they relied on exclusively cinematic means of expression.9 The narrative is clearly secondary to the montage. For Eisenstein, montage is conflict. As the basis of every art is conflict.10 Weaving distinct cells together creates more than what could simply