Difference between the Two Theories of Conflict - Essay Example

Name: Title: Tutor: Course: Institution: Date Discuss Linda Williams’ theory of melodramatic nostalgia in relation Eisenstein’s theory of conflict in montage. What is the essential difference between the two theories of conflict. Introduction Stella Dallas film is a form of canonical text when studying women’s film and concepts of female spectatorship in Hollywood. It displays protagonist’s attempts to generate a life that entails a degree of movement, liberty, and contentment. It also portrays constant thwarting challenges by a self-righteous average class that observes her femininity wanting. Eisenstein summaries a different conflict theory in the film Come and See where direction depends on the anatomical and spatial disproportion of the scenes referred as “irregularity” in an attraction montage. When analyzing the film Come we have six types of conflicts of montage. These include graphic, planes, volume, spatial, light and tempo conflict (Jay). Melodramatic nostalgia concept of Linda Williams in Stella Dallas movie is observed through the basic form of moving images. It can not be compared to specific kind like western or horror movies. Melodramatic nostalgia in Stella Dallas film is a markedly democratic and seeking dramatic exposure of orals and touching truths during dialectic of pathos and action (Peter, 1976). This is different from Eisenstein’s concept of conflict in montage. The film Come and See Eisenstein displays conflict of montage theory through editing whereby a series of short scenes are edited into a sequence to condense space, time, and information. This is useful in suggesting the passage of time, instead of creating symbolic meaning in a similar manner it does in Soviet montage notion. Come and See is broadly regarded as the most harrowing conflict movie ever produced. Eisenstein to create a film based on traumatizing its spectator with dialectical truths. This can be described as the montage of attractions (Anne). Stella, in spite of giving up the most valuable thing is nonetheless jubilant in her tears. In the film, Stella has secluded herself from her own daughter’s existence so that Laurel can fit into average class femininity without a problem, reflection, or residue. Using Linda William’s theory to analyze the scene in Stella Dallas the spectators are allowed to picture a character misconstruing the sense of an act type. Stella is viewed as the scene’s basic audience, her encounter of the scene advantaged over that of the individuals within it. Yet, whereas Stella is an observer to this happening, she is however invisible to it. It appears Stella is a viewer to a footage in which she has no position or instead her position is that of unseen and inaudible viewer. Stella Dallas film troubles the difference between “visibility” and “invisibility, “disappearance and appearance”. This creates a closing sequence that is sentimentally charged. It is merely at the conclusion that Stella defeats the forms of effacement and removal that she has tackled all through, in maintaining the terms of melodrama’s credit of virtue. In her exposition reading of the crucial debate that took place around Stella in the feminist movie discussion during 1980s, Linda Williams states that ‘With the great advantage of hindsight, I would say that the entire Stella Dallas debate was over what it meant for a woman spectator to cry at the conclusion of the film’. Stella Dallas became a vital site for decisively addressing what it is like to be touched by a film. There is a difference from Eisenstein theory of montage since Come and See mostly uses an objective opinion concept. The scenes reveals from the viewpoint of a third-party spectator. The viewer is able to see things that the character cannot see. In Come and See, this perception often gives the spectator a feeling of not-quite- being active, or being in attendance and yet detached from the actions taking place on the screen. This is particularly the situation in footages where the main characters are under criticism, for instance, in the arena in Bagushovka. Dallas’s film closing scene shows the maternal melodrama’s concept of maternal sacrifice. For Stella to live as a good mother she is forced to sacrifice what she desires most. This sacrifice involves giving up the kid itself. Stella positions herself infront of a screen-like window, clothed in a trench cot and a hat similar to a tomboy. Stella is finally moved on from her viewpoint location by a police officer, who also denies her the rights as both a viewer to and director of the footage. The scene appears within scope and yet detached by an unbridgeable distance. Stella performs a specific concept of female spectatorship, whereby female spectatorial contentment is founded in longing. It is mainly due to this for this cause that the film’s ending has played such a crucial part in studies films concerning women and its captions of a female view point. Stella is invisible and rapt ahead of the scene that unfolds prior to her reflecting the position of the implied feminine spectator in the audience. In this scene, Stella is positioned as an observer to a sight of her personal effacement (Linda, 1984). William’s classification of the Stella Dallas discussion quickly recognizes some of the fundamental stakes of this act. In Linda William’s summary of the discussion is the degree to which the exploration of the production of the scene’s affective force frequently revolved around a sense that the film moves into a different kind of image practice. In this scene, staging and playing out its character’s disappearance or appearance through the summoning of a blind field. No less significant in this work were the conflicting readings of what the viewer. The question of what ‘moves’ the spectator in the final scene is not only significant in terms of how one understands the political views of its resolution, for instance, whether it offers little more than ‘a ritualized bereavement of the woman’s losses in a patriarchal community. The Eisenstein theory in montage is different in that he created a realistic cinematic feel in come and see Come and See. When directing, he separates himself from the ambiguity portrayed in most post-Stalinist war movies. The theory of montage analyses explicit representation of horrific actions to produce maximum touching effect. The film creates an emotion that something is not right by a firm build-up of anxiety. Nothing is evidently wrong in Florya’s empty dwelling, but the spectator has the knowledge that something is not right. This certainty intensifies as the scene goes on. Eisenstein’s concept of over tonal montage can be felt as the noise from flies becomes louder and the dolls placed on the floor are strangely off-putting. Eisenstein interplay combines pace, concepts, and emotions to stimulate the desired result from the spectators. The spectator does not realize immediately what exactly is wrong in this scene, but have the concept that certainly something is wrong. Eisenstein explains the trauma effect to the audience by putting into the same traumatic external encounter and not into the mentality of the character. The manipulation of spectators’ discernment of the physical sense can cause a much more deep and painful experience in watching a movie. The graphic pictures of German war violence in Come and See is extremely disturbing. There is no effort to save the spectator from any evident physical detail of the killings of so many Byelorussian inhabitants. Klimov’s heavy-handed strategy generates a painful realism in the movie. Tone or mood employed in this scene is useful in interpreting tonal montage and although the theory begins to sound intellectual. Eisenstein makes an attempt to force the spectator into similar dreadful encounter. Viewers can feel it through their body as villagers are stuffed into a barn to be burned. It is no different from the playing of the emotions of the different scenes. Emotions change, and the tone of the scene. Linda’s theory of melodramatic nostalgia looks at the subject of female viewership places Stella as a film viewer outside the window looking at the daughter who is now lost to her. The melodrama positions a female spectator like Stella herself. Stella is viewed as an incapable witness of a scene that barred her. The concluding footage purpose is to eradicate Stella. The female viewer does not essentially agree in the need of this sacrifice. The female spectator cannot connect exclusively with the eradicated Stella at the concluding moment. Linda William analyze the scene and observes that there lacks space for some concession in a female observing position. This was animated through the contradiction of identifying Stella as a mother and woman. The scene at the end of Come and See efficiently concentrates the extent of the Eisenstein’s conflict. When Florya sees the picture of Hitler in the mud, a desire to fire the portrait overwhelms him. With each shot, initial scenes of Hitler plays quickly and reverse montage is depicted. As Florya goes on to shoot, Hitler comes nearer to his initial mount to authority. The use of the reverse montage by Eisenstein reminds us of the violence Hitler caused on the world and this horrible violence will never seize in the human mind. He shoots at the picture while the reverse montage happens on screen, only stopping when an image of Hitler as a baby appears. Rhythmic montage is displayed as the men march in the forest at the conclusion of the movie to a score by Mozart. The viewer can not resist being overwhelmed by hope in the good on the globe (Walter, 1987). Linda Williams’s theory is examined through bad melodrama of manipulated. Naively is experienced in the position the mother takes gazing through window during her daughters wedding day. A lot of feminine emotions are present and a “good” melodramatic nostalgia of satirical hysterical excess believed to be resistant to most of the pathetic emotions. The film has cinema controlled by male craving and a masculine theme position. Stella Dallas fit in a melodramatic mode different from the film Come and See. In Stella Dallas domestic areas of incapable women and children characters are highlighted more. The character’s in Stella Dallas likely agency originates from the virtue of their misery. Linda Williams is continues to examine what would be the consequence of a mother and daughter who seem to be so close, exploit each another to attain what they desire. Linda William’s melodramatic nostalgia in Stella Dallas addresses female viewers about issues concerning women. Conclusion The essential difference between the two conflict theories is that Linda’s analysis of Stella Dallas discussion is based on what it implies for a woman spectator to cry at the conclusions of the movie. The melodramatic nostalgia appeared to threaten the irresistible emerging liberated woman. Linda’s melodramatic woman’s film concept had outstanding texts as melodramas having a precise concentration on women spectators. The sad concluding maternal melodrama nostalgia focused on the lost connection to the mother. However, Eisenstein theory of montage considers the inception of new ideas and viewpoints in the conflict amongst customary ideas and particular representation as a dynamization of the inertia of the ideas portrayed in Come and See. Conflict of montage is manifested in the formation of equitable views by stimulating contradictions within the viewer’s mind. Eisenstein forges accurate intellectual concepts from the dynamic clash of opposing passions. Bibliography 1. Anne Nesbet. Savage Junctures. Sergei Eisenstein and The Shape Of Thinking 2. A War Remembered. 2010. Soviet Films of the Great Patriotic War.” The American Historical Review. 106.3 (2001): 64 pars. Web. 3 Nov. 2010 3. Dir. Elem Klimov. Kino Video. 1985. Come and See. Film Genre: WWII. Ovation TV. 20 Aug. 2008. Web. 24 Nov. 2010. . 4. Goodman, Walter. 1987. “Film: ‘Come and See’ From Soviet Rev. of Come and See. New York Times 6 (Feb). Web. 5. Jay Leyda. Sergei Eisenstein Film Form, Essays In Film Form theory. a harvest/HBJ book: New York London 6. Linda Williams.1984. Something else besides a mother". Stella Dallas and the maternal melodrama". Cinema journal 24, no. 2-27. Reprinted in Gledhill and landy, imitation 7. Michaels, Lloyd. 1985. “Come and See. Klimov’s Intimate Epic. Quarterly Review of Film and Video 25.3 212–18. Print. 8. Peter Brooks. 1976. The melodramatic imagination: Balzar, Henry James melodrama and the mode of excess: New Haven: Yale University press. Read More

Stella is viewed as the scene’s basic audience, her encounter of the scene advantaged over that of the individuals within it. Yet, whereas Stella is an observer to this happening, she is however invisible to it. It appears Stella is a viewer to a footage in which she has no position or instead her position is that of unseen and inaudible viewer. Stella Dallas film troubles the difference between “visibility” and “invisibility, “disappearance and appearance”. This creates a closing sequence that is sentimentally charged.

It is merely at the conclusion that Stella defeats the forms of effacement and removal that she has tackled all through, in maintaining the terms of melodrama’s credit of virtue. In her exposition reading of the crucial debate that took place around Stella in the feminist movie discussion during 1980s, Linda Williams states that ‘With the great advantage of hindsight, I would say that the entire Stella Dallas debate was over what it meant for a woman spectator to cry at the conclusion of the film’.

Stella Dallas became a vital site for decisively addressing what it is like to be touched by a film. There is a difference from Eisenstein theory of montage since Come and See mostly uses an objective opinion concept. The scenes reveals from the viewpoint of a third-party spectator. The viewer is able to see things that the character cannot see. In Come and See, this perception often gives the spectator a feeling of not-quite- being active, or being in attendance and yet detached from the actions taking place on the screen.

This is particularly the situation in footages where the main characters are under criticism, for instance, in the arena in Bagushovka. Dallas’s film closing scene shows the maternal melodrama’s concept of maternal sacrifice. For Stella to live as a good mother she is forced to sacrifice what she desires most. This sacrifice involves giving up the kid itself. Stella positions herself infront of a screen-like window, clothed in a trench cot and a hat similar to a tomboy. Stella is finally moved on from her viewpoint location by a police officer, who also denies her the rights as both a viewer to and director of the footage.

The scene appears within scope and yet detached by an unbridgeable distance. Stella performs a specific concept of female spectatorship, whereby female spectatorial contentment is founded in longing. It is mainly due to this for this cause that the film’s ending has played such a crucial part in studies films concerning women and its captions of a female view point. Stella is invisible and rapt ahead of the scene that unfolds prior to her reflecting the position of the implied feminine spectator in the audience.

In this scene, Stella is positioned as an observer to a sight of her personal effacement (Linda, 1984). William’s classification of the Stella Dallas discussion quickly recognizes some of the fundamental stakes of this act. In Linda William’s summary of the discussion is the degree to which the exploration of the production of the scene’s affective force frequently revolved around a sense that the film moves into a different kind of image practice. In this scene, staging and playing out its character’s disappearance or appearance through the summoning of a blind field.

No less significant in this work were the conflicting readings of what the viewer. The question of what ‘moves’ the spectator in the final scene is not only significant in terms of how one understands the political views of its resolution, for instance, whether it offers little more than ‘a ritualized bereavement of the woman’s losses in a patriarchal community. The Eisenstein theory in montage is different in that he created a realistic cinematic feel in come and see Come and See. When directing, he separates himself from the ambiguity portrayed in most post-Stalinist war movies.

The theory of montage analyses explicit representation of horrific actions to produce maximum touching effect.

Read More