We use cookies to create the best experience for you. Keep on browsing if you are OK with that, or find out how to manage cookies.
Nobody downloaded yet

Eisenstein and the Cinema of Montage - Essay Example

Comments (0)
Summary
Before the Russian Revolution of 1917, film was not an essential aspect of the country's cultural development. As one of the few nations that did not claim any contribution to the development of the field, it also did not manufacture any equipment of film, preferring to import these from France and Germany.1 While the artistic productions were obstructed by the innately conservative taste of the aristocracy, the committee dedicated to the creation of propaganda was too small to have any real influence.2 However, with the revolt came change, and the eventual rise of the Soviet Cinema of the silent film era.
Download full paper
GRAB THE BEST PAPER
Eisenstein and the Cinema of Montage
Read TextPreview

Extract of sample
Eisenstein and the Cinema of Montage

Download file to see previous pages... re vigorous productions which reverberate through film theory to this day.
However, this is not 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 most 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 startling, juxtapositions of shots'.5 His writings stress the core significance of the idea, as 'we must fully recall the characteristics of cinema's effect that we stated initially and that establishing the montage approach as the essential, meaningful and sole possible language of cinema'. 6 In this method, 'The shot is by no means an element of montage. The shot is a montage cell'. 7 As the Statement 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 leading 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 point 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 propagated this method not only in his work but in his numerous writings on films. The swift cutting 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 ...Download file to see next pagesRead More
Comments (0)
Click to create a comment or rate a document
CHECK THESE SAMPLES - THEY ALSO FIT YOUR TOPIC
How is Soviet montage is revolutionary With the reference to the work of Soviet Russian film directors Sergei Esienstein and
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.
14 Pages(3500 words)Essay
Studies in International Film Critical Analysis
It was the capital investing company that counted most. Five major studios in the Hollywood controlled the major share of film productions and distribution .The films thus produced were known in the name of the company like an MGM film or a Paramount film.
6 Pages(1500 words)Essay
FILM MOVEMENTS, GENRES, STYLES: Soviet Montage
During the First World War, countable self-owned companies in Moscow and Petersburg were functioning. The companies focused more on domestic films of which was quite well during that time. Most movies by the mid 1910 were melodramas and thus concentrated on magnificent performances by both actors and actresses who were playing personas in great emotional situations.
5 Pages(1250 words)Essay
Sergei eisenstein and his influential on society
This was advanced and popularized by Sergei Eisenstein, a trained civil engineer and architect who turned author and film theorist (Cunningham & Reich, 554). He used his broad knowledge to highlight the struggle between the bourgeois and the proletariat and the laxity of the government in halting the class conflicts.
4 Pages(1000 words)Essay
Discuss the differences between 'world cinema' and Hollywood cinema. Explain why the term 'world cinema' has gained popularity in recent years
World Cinema like Hollywood cinema is gaining more recognition from the last two decades. University of Leeds (2005) defines world cinema as a terminology for English language films that is not from any English language countries, or simply "non-Hollywood" cinema. Along with its international recognition also comes the depth of the understanding of one country's status.
6 Pages(1500 words)Essay
Film Theory of Bazin and Eisenstein
Eisenstein and Bazin are two very important people in the field of cinematic theories. Both created theories in the hitherto untouched are of cinematic art. Even though there are many similarities in their perspectives, the dissimilarities are more than them.
20 Pages(5000 words)Essay
Discuss the history of one film teqnique for example montage, closeups, sound give the argument of three different thinkers on the subject using at leat three
It is one of the techniques of film editing. Soviet filmmakers of the 20's formulated the Soviet Montage in order to deliver effectively a message that cannot be done in continuity editing (Karpenko 2002). There are three senses of the film on how to use and execute montage technique by its terminology.
3 Pages(750 words)Essay
Sergei Eisenstein's Theory of Montage
He also got involved in theatre activities and eventually entered the sphere of film making which was a newly emerging art form in that period. World cinema had never seen before such an
5 Pages(1250 words)Essay
The Third Cinema
"Third Cinema” is not an isolated movement. It should be considered as a part of the new Latin America cinema movements, which in turn was a part of the new cinema movements world over. It was a reaction against making films the objects of commerce than art. It was a reaction to big commercial internationalism influencing the national cinemas.
8 Pages(2000 words)Essay
Theories of Film Editing - Montage Mis-en-scene And beyond
Cinema started as a recording medium. The camera was just a machine that would record the objects in space in front of it. This recording medium which only later became the most popular and powerful a visual art was used then to record the theatre performances. Then the camera was a static viewer and the recording was continuous demanding no to edit.
11 Pages(2750 words)Essay
Let us find you another Essay on topic Eisenstein and the Cinema of Montage for FREE!
Contact us:
+16312120006
Contact Us Now
FREE Mobile Apps:
  • About StudentShare
  • Testimonials
  • FAQ
  • Blog
  • Free Essays
  • New Essays
  • Essays
  • The Newest Essay Topics
  • Index samples by all dates
Join us:
Contact Us