Soviet Montage and Use of Reality in Films - Essay Example

?Introduction The ability to create a specific type of expression is one that is dependent on using various mediums and connecting to the aspects that are associated with the techniques applied. When looking at Soviet film of the 1920s, it can be seen that techniques such as the Soviet montage were applied to create a deeper meaning. This was rooted not only to create an artistic style that was a part of expression. More important, there was a link to developing a specific voice about the politics and culture of Soviet Russia, while creating a sense of realism in the films. When comparing the work of “Battleship Potemkin” by Esienstein and “Man with the Camera” by Vertov, it can be seen that there are more similarities than differences. The creation of expression with culture and politics as well as the understanding of how to use specific techniques in this time period were all associated with the construction of the film. While both directors had specific styles, there were more associations with the new creation of film and the experimentation of how one could communicate specific messages to the viewers. Defining the Soviet Montage The concept of the Soviet montage began in the 1920s with the focus on editing specific scenes within movies and combining this with other scenes to create fractured images for the overall plot line. This specific concept emerged out of the Russian Revolution of 1917, which was based on the objection to socialism. The propaganda of socialism was the main component; however, many began to overlook this and believe that the values of socialism were a detriment to society and would lead to strict rules and regulations within society, as opposed to building a stronger ability for citizens to work within society1. The symbolic objective which was established was based on having a free flowing thought of narrative, as opposed to a strict establishment, such as many believed was a component of socialism. This was followed by combining the plotline into one which didn’t require techniques to be consistent or for the plot line to have the established, chronological order that was expected within cinema2. The concept of revolution in the montage was one of the most important factors in using this technique. While this was based on methodologies and techniques for the arts, film producers considered it a way of getting a message across based on the Russian Revolution as well as the politics and economy of the time. The meanings which were established through the broken edits created a political and intellectual agenda that those in the Soviet region could look at and change their understanding about. The narrative and content that was used became important in establishing a sense of a political and intellectual revolution, specifically which was believed to be a vehicle for social change. Most of the content which was used in this form was able to take place in an abstract way. However, the meaning which was established allowed for the meaning to relate to the political and economic difficulties of the time, specifically which linked to the voice that was based on the revolution of Russia3. The first historical presence of the montage began with editing between scenes, specifically which would move from long shots that would be followed by a cut in black. This would then lead to a narrative flow that would link specific types of vocabulary and philosophies that were within a specific film area. The main ideal was to create a sense of space, which then held some connections but was able to move into a different narrative direction within the film. As this evolved, it moved into specialized techniques, such as mise-en-scene, where movements were the main component linking together the edits, while the narrative was able to continue in the same direction4. The rules which were established included an established shot in a specific scene, followed by a long shot to create a sense of orientation of where one was as well as to position the performers and objects. This was known as the master shot, which was followed by specific movements of the characters that would link the various elements together. The editing would follow at any length with the movements to establish the sense of space and to create a link between the shots. Jump cuts were also established, which would change the techniques of the film maker with the narrative instantly. These techniques allowed the different shots to link together while having a sense of conflict outside of the main movement5. The roles that were established for the montage were then furthered by other techniques that began to evolve with the experimentation of film makers. The idea of creating shots that were opposing to each other led to the concept of cinema of attractions. While there was still conflict between the shots, the ideal was to create an attraction to the meaning used. This was done by considering four dimensions that were a part of the montage, such as spectator, film, experimentation and the attraction of each of these elements. The cinema of attractions was the film that created the display or exhibition from the character to the spectator. The film should create an attraction to the viewers who could then create a meaning of the symbolism developed through the characters. The main ideal was to use the character and the plot line as a symbol and a sense of meaning that was attractive to those watching the film. In turn, the sensual impact would create psychological meaning that would develop deeper levels of understanding through the cinema. The use of editing out unimportant parts and developing meaning from the attractive parts of movement and character became the main way in which the film directors created a sense of attraction to the spectator6. Another application which was used was the theory of typage, which was established by Eisenstein in his later films. Instead of focusing on the conflict of images and characters, the ideal of montage was furthered with the music and the phrases which were used within the film. These would each be conflicting and would change with edits and sequences according to the rhythm that was established within the film. The ideal was to create a representation of images as characters that held a specific rhythm in the film and were able to represent the realities of life. The typage of the characters, music and the edits which were done were then able to link together for a deeper and more significant meaning. The sequences then unified through the techniques which were used, as opposed to the meaning established through only one aspect7. The Use of Reality in Films The concept of the Soviet montage as a way to depict social change was one which also represented similarities between creating a sense of reality and moving into the avant-garde of representation among film. The concept of creating a perspective which was based on reality was the main objective of those who were using the montage, specifically because it was related to the revolutionary idea of social change and politics. The concept of creating a social revolution meant that those who were introduced to film production were required to create a sense of realism that would stimulate responses. However, the reality was combined with senses of expression and ways of reaching to the masses with emotional and psychological responses as the main component. The realism and the avant-garde expressions were able to create the reality in film. At the same time, the dangers of using reality alone because of the political regimes of the time gave those with creative impulses the ability to balance between the expressions and realities of film8. Camera The camera which was used was the main aspect that linked the idea of Soviet montage to the creation of meaning. The camera had the role of using various techniques, all which were conflicting to the other to hold a specific meaning. However, the edits which were established would have a unifying feature, such as a movement, that would be within the next edit9. Long shots, combined with close ups, would be used with the edits to provide a deeper understanding of what should be formulated and the experiences that were established. Most that were using the montage in the earlier parts of the cinema revolution created a specific set of techniques to use in sequence, such as going from a long shot in the beginning sequence to established changes and conflicts in the proceeding sequences. This helped to provide meaning by understanding the basic area which the spectator was looking into, combined with the conflicts which had to move into unity, specifically seen through the metaphorical attributes of the camera techniques used10. When looking at the camera techniques of Eisenstein in “Battleship Potemkin,” it can be seen that the specific ideals are used for the montage to create a sense of meaning. The overall set of sequences is divided into five main edits, or parts to the film. Each of these is based on the propaganda of politics with the battle of 1905 in Russia. The main component is to illustrate the acts that occurred which were not humanitarian and caused for suffering of those that were in the battle. This is combined with the camera sequences that allow the spectator to be attracted to the main plotline while understanding the meaning of the injustice of the time. A place where this is seen is in the fourth sequence of the film, Odessa Steps. This begins with a close up shot of two children that are waving to the soldiers that are going to battle. This is immediately edited to a conflicting scene of the steps and shoes. A third cut is taken with a black screen, which goes into the word suddenly and a close up shot of a woman who is screaming, then which goes back to the wide shot of the steps with individuals running. The shot is chaotic except for the two small clips of a man who doesn’t have legs and which is running, all which are followed by soldiers. A wide shot follows of the steps, then instantly clipped to close ups of men falling as the massacre occurs. The scene continues with moving with close ups, followed by wide shots of the stairs11. The contrast of shots is seen in Figure 1. Fig 1: Odessa Steps The sequence of events with the camera is used specifically to create a sense of conflict and to get a psychological and emotional response among those that are watching the film. The sequences of those running shows a sense of conflict, with the wide angle giving an overview of what is happening historically. The soldiers that are seen with the wide shot from behind and the chaos of those running in front that is clipped throughout the picture is able to create a montage that allow the spectator to understand the chaos. When the clips go into the woman screaming, the children looking over dead bodies and the acting that shows a sense of panic and fear, the spectator is able to process what is occurring at a different level12. Instead of the camera shots only being to show different perspectives, there is an emotional and psychological response that connects the spectator to the event. The fear and terror, as well as the sympathy that may be established among viewers seeing the situation is used specifically by the camera shots and techniques. These use the close ups as a personal and emotional viewpoint, as well as the wide shots to give a sense of place and time within history13. The same association is seen with “Man with a Movie Camera” by Vertov. The main concept in this particular film is introduced similar to a beginning documentary. Those who are working and playing in Russia are filmed in one day with the different activities that they take place in. Vertov doesn’t use a plot line or characters for this, but only observes what is occurring. The camera techniques are then able to show the meaning and expression behind the actions taken. The beginning of the film first represents how the narrator is able to approach this aspect. The first shot is with the camera man standing on top of a film, with the cut split into two screens with a larger camera and the man standing on top of the camera taking shots. This moves into a close up of a bell tower. This is followed by a wide screen of a stage with a close up of the rows and seats that are in the performance hall. This is followed by a series of close up shots with the camera to show each side of the performance hall and the main objects that are in the room. The close - up shots move to the camera man setting up the reel for the film and opening the curtain for the cinema. This is followed by changing the camera from wide angles to close ups, all which show the opening of the theater and announce the beginning of the show14. These movements are seen in figure 2. Fig 2: Man with the Camera Similar to Eisenstein, there is a movement between continuous cuts of close up shots that show specific objects to wide angle shots to give the overall perspective. Vertov also combines split shots and in other areas of the film adds jump shots as edits. The first scene is similar to the rest in creating a sense of emotion and a psychological response15. The spectator is drawn in with a sense of excitement by the music and the camera shots that are used, specifically because it announces the beginning of the show and builds a sense of curiosity about how the approach will be used with the film. The concept that is used is to create a sense of understanding life unawares. The sequence of shots works together, even in the opening scene, to show a sense of curiosity and to slowly unravel the plot line. The camera shots become the plot structure, specifically as it uses the images to narrate what is occurring. The camera techniques are then able to decode the plot line and the concept of documentary that Vertov uses, all which work together to detail and describe the aspects of the film16. Narratives The concept of narrative within the film is one which also helps to display the same sense of the spectator becoming involved emotionally and psychologically with the film. The concept of montage is one which was based on the silent film. The only narrative that was used was to describe in between shots with wording. However, this was limited with the films that were produced. The film producers would then use the actions of the characters and the shots to describe what was happening and to create a sense of the narrative that was a part of the film17. The creative synthesis of music, images, characters and the meaning which could be interpreted with specific actions were the way in which the narrative was able to take place in the films. The synthesis of these various components were then able to provide a different understanding of what was occurring in the film and to build a narrative that was produced through the images and silent language that allowed those who were producing the films to establish18. The narrative in “Battleship Potemkin” is used specifically with the combination of images and music that are a part of the story. The synthesis of these two elements creates the main component that is used for the story. The beginning of the story shows this by showing the battleship boat that went to sea, combined with the honking of the boat, which establishes that it is leaving. This is followed by the image of a man in front of a flag that is shouting, along with chaotic sounds that are heard, which gives meaning that it is a battleship as opposed to any other type of travel, as seen in figure 3. Figure 3: Battleship Potemkin Even though the man’s words aren’t heard, it makes clear meaning that there is a political association, specifically because of the flag and the scenery which is created. The next piece of the narrative shows a woman smiling then begins to march alongside the men, which gives meaning to the battle and how it was affecting the citizens in the Soviet Russia. This also establishes the historical component to the film, combined with adding in a psychological association with the women walking with flags behind the men. Meanings of patriotism, pride and propaganda for the new regime are seen within this scenery19. A similar approach to narrative is seen with “Man with a Camera.” For example, in scene 3, Vertov begins to move into the idea of machinery and humans being side by side. This is first seen with the wide view of the people walking, followed by the trolleys in the street. The narrative and meaning is based on the people of the country going into an area for work or for play while waking up to the street sounds in the region. The narrative then moves into showing the camera man walking and holding his back, showing that he trying to find a scene and it is difficult and tiresome. The next scene shows a woman hanging clothes, than cuts to a man playing with eggs. A wide shot is taken of the street that is recorded, followed by a close up of a boy brushing his teeth. Concepts of these contrasting images can be seen in figure 4. Figure 4: Man with the Camera Each of these pieces are cut to show the narrative of the city coming alive and waking up, while individuals are getting ready for the days work and trying to find a way to present a story. The images, as well as the music which provides a background of movement through the strong rhythms, is then able to create the overall narrative through the images in this segment20. In both of the films, there is a similar use of the narrative, specifically by having an absence of the narrative. In Vertov’s approach, he specifically states in the beginning of the film that it is a production without a story line, and only a capturing of the daily life of those in Russia. However, the narrative follows with images and actions, which communicates the message to the spectator of the daily life and how this is combined with the man and machine through the production21. While Eisenstein’s narrative differs with the focus on the war, the aesthetics and the music work to produce an understanding of the narrative while creating the main approach to allow the spectator to make sense of what is occurring. For instance, the political leader speaking by the flag, followed by individuals marching next to the flag in the street, creates specific assumptions about what is occurring. However, the spectator can move beyond this with their own narrative and experiences that allows the main images and music to relate to the psychology that occurs in each situation22. Evolution of Language in Cinema The elements of narrative as well as the approach that both of the film producers used are significant in understanding the evolution of cinema from the Soviet montage. The ideal was to use the senses as a main way of creating language, such as sound and visual appeal. The spectator is then able to establish their own language that is based on the cuts and edits that the film producers create. This allows a specific language to come not only from the performers, but also which is established through the experience and understanding of the spectators. From this, the spectator is able to make assumptions and translate a specific message that is used in terms of the aesthetics that are created through each of the film producers23. Eisenstein and Battleship Potemkin The overall concepts that are used with both of the films, as well as the essential elements that combine with the Soviet montage then lead to the individual distinctions of both films. The achievement of Eisenstein and “Battleship Potemkin” combines with the several techniques to create an understanding among viewers. The main concept was to create a sense of sympathy toward the battle that occurred in 1905. At the same time, there is a sense of propaganda that is established in terms of politics while creating the belief that there needs to be social change, specifically which begins with the government first. The film creates an established meaning between the realities of the politics of the time, with expressionism of what is required for social change and how this is affiliated with the politics in Soviet Russia. The innovation is then achieved by showing how the social change is lost with the government take as well as how the realism of political change is one which couldn’t be achieved unless the politics began to alter24. The main ideal that Eisenstein created was to achieve the relationship with the spectator about the realities and horrors of politics, while creating an expression that linked directly to the emotional and psychological responses which one could have. There are several instances where this is achieved, such as the woman crying in front of soldiers with a dead baby, who is then later killed. These ideals are able to promote the reality of why a revolution is needed within Russia. At the same time, it shows the emotional and psychological realities of what a war looks like and what the implications of a revolution means. The concept which Eisenstein establishes is then based on the question of how change can be brought about through social order and what this means to those who are living at this time and want to initiate the specific changes that are a part of the region25. The concept of creating a narrative for revolution is one which can be compared to the realities and expressions of classical Hollywood films. There are some similarities in terms of technique and the use of the silent film. The main concept is to use the images as well as the movement and the music to create the narrative between Hollywood and the montages of Eisenstein. However, the artistry of the montage is one which moves beyond the classics of Hollywood. Hollywood was known for creating one plotline which was followed by specific characters throughout the film, with little use of camera changes and narratives. The music used would be followed by long scripts of narrative to show what was occurring and to build a dialogue between the characters, which was then followed by the actions of those on the screen. More important, most of the features were lighter in nature. The plot lines were based on imaginative concepts that could be used for entertainment and which didn’t show a high sense of reality among those who were watching the film26. For Eisenstein, there was an approach that was more avant-garde in nature. The experimentation was combined with the images and the music which established connections between what occurred. However, the quick cuts and edits, lack of narrative through words and the main subject matter was more realistic than the Hollywood narratives. While both were considered silent films, the subject matter and the desire to create a specific response from the audience differed from those that were creating the film. Eisenstein was then able to achieve a purpose that was specific to the Soviet audience and the political and social change which he was interested in27. Vertov and Man with the Camera The same message is achieved with Vertov and “Man with the Camera.” While the subject matter is lighter and includes silent humor, there is the ability to show that social change and the ability to move back into a more humanistic approach is needed. The combination of the machinery and the establishment of the city are combined with the activities of individuals. Each of these is in sync with each other; however, Vertov shows how this can also be detrimental. The message sent is one based on economy and how this is intertwined with the politics and the social construction within the community. Vertov is able to achieve this by only showing images, which then intertwine together with the man and machine and show how the reality of life is one which is established only through the way in which individuals create specific components to their lives28. The distinction that is seen with Vertov is based on the constructivist influence that was a part of his message. The concept of constructivism is based on the art of fact, which is achieved by Vertov stating that there is no plot, actors or elements to follow. Instead, it works as a documentary that shows the facts of life among those that are in the city. The constructivist influence is one which shows the artistic representation of the realities of Soviet Russia. However, Vertov is able to build a sense of experimentation of what the facts mean and how this may relate to the expressions and ideologies of society. The influence of not having a message is then able to show how social change or the desire to stay the same is one which is only propagated by those who don’t want to accept the realities and art of fact that is presented by Vertov29. Conclusion The concept of Soviet montage is one that was used to create a sense of revolution and social change. The leaders, Vertov and Eisenstein were able to present the idea of social change and revolution through several of their works. “Battleship Potemkin” and “Man with the Camera” were two of the most popular films to show the revolution while combining the techniques of Soviet Montage with revolution. The edits and cuts, as well as the perspective taken in both, is able to create a deeper meaning to reality while establishing a sense of creative expression to those in the Soviet during this time30. The presentation created then was able to provide a deeper understanding of what was required for social change while using the expression to show the emotional and psychological realities to spectators. Bibliography Austad, M. (2009). “Assault on Continuity.” UCLA Beer, D. (2007). “Tune Out: Music, Soundscapes and the Urban Mise-en-Scene.” Communication and Society 7 (2) Bordwell, David. (1972). “The Idea of Montage in Soviet Art and Film.” Cinema Journal 11 (2) Briley, Ron. (1996). “Sergei Eisenstein: The Artist in Service of the Revolution.” The History Teacher 29 (4) Cavendish, P. (2007). “The Men with the Movie Cameras: The Theory and Practice of Camera Operation within the Soviet Avant-Garde of the 1920s.” The Slavonic and East European Review 5 (4), Christie, Ian. (1982). “Soviet Cinema: Making Sense of Sound.” Screen 23 (2) Cook, DA. (1981). A History of Narrative Film. New York: Routledge Eisenstein, Bronenosets. (1925). Battleship Potemkin. Soviet Union: Goskino Productions. 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New York: Laurence King Publishing Roberts, Graham. (2000). The Man with the Movie Camera. London: IB Tauris Publishers Rohdin, M. (2009). “Multimodal Metaphor in Classical Film Theory from the 1920s to 1950s.” Multimodal Metaphor 3 (7). Shaw, Dan. (2003). “Sergei Eisenstein.” Senses of Cinema (30) Strauven, Wanda. (2006). The Cinema of Attractions Reloaded. Germany: Amsterdam University Press. Taylor, Richard. (1983). “A Cinema for the Millions: Soviet Social Realism and the Problem of Film Comedy.” Journal of Contemporary Society 18 (3) Taylor, Richard. (2000). The Battleship Potemkin: The Film Companion. London: IB Tauris Vertov, Dziga. (1929). Man with the Movie Camera. Vertov, Dziga, Annette Michaelson. (1984). Kino – eye: The Writings of Dziga Vertov. California: University of California Press. Read More