![]() It creates new meaning through editing by combining shots on the basis of a conceptual connection between them. ![]() ![]() While Soviet film director Sergei Eisenstein is credited as the godfather of the montage and pioneer of the Soviet montage theory, we can also trace the use of montage to early Hollywood filmmakers like Slavko Vorkapi and Don Siegel in the 1930s and 40s. The last and most complex editing method, and Eisenstein’s favorite, is the intellectual method. Before we dive into the different individual types of montage, let’s take a step back to look at how the film montage originally developed. The over-tonal method combines the first three method in a holistic approach. Next is the tonal editing method, which focuses on the lighting, shadows, and colors of the edited scenes. In other words, it also considers the rhythm of the action depicted. The second editing method is rhythmic montage, based on both the length of a shot and the dynamics of the scenes. The first and most basic is metric editing, based on the length of a shot. The Five Editing Methods of Sergei Eisenstein One of the most valuable lessons from the video is Sergei Eisenstein’s classification of the five film editing methods. This educational video by puts the Soviet theory of montage in historical perspective and delves into the details of the Soviet editing school. David Bordwell defines the Soviet montage style as one which uses an assemblage of shots to build a narrative to control rhythm, to create metaphors. It involves the rapid and dynamic editing of shots to. mercial aspects of film and the artistic impulses of filmmakers, or between the accessibility of film to a mass audience and its purely aesthetic and at times abstract language, characterized Russian political and cultural debates throughout the 1920s. As Francis Ford Coppola said, “the essence of cinema is editing.” Soviet Montage is a filmmaking technique that originated in Soviet Russia during the 1920s. From Chris Marker’s La Jetee which creates the illusion of movement through dissolves and fades to Paul Sharits’ Word Play which demonstrates how meaning can be created and destroyed, from Hollis Frampton’s Nostalgia which examines time and memory through the asynchrony of film sound and images to Louis Morton’s Passer Passer which combines sound and images to create a feeling of rhythm, from Robert Bresson’s claim that “an image must be transformed by contact with other images, as is a color by contact with other colors” to Lars von Trier’s Nymphomaniac which captured the human condition in a single dissolve, the cinematic power of editing seems ubiquitous. ![]() One of filmslie’s previous posts examined Sergei Eisenstein’s influential theory of montage and its idea of creating new meaning through film editing. ![]()
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