Eisenstein Film Form Essays In Film Theory

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As she recorded in “You must be infatuated by the ideas and emotions contained within your subject. Your infatuation is the powder to produce a creative explosion. This form must satisfy your consciousness.” Eisenstein’s incredibly intellectual breakdown of filmmaking often wobbles between confounding and profound.

That said, Eisenstein’s incredibly thorough theories with regards to filmmaking, and particularly film editing, continue to inspire filmmakers to this day, and for good reason.

The following are my notes on what I find to be his most useful essays for me as an editor. Nature--embodying a conflict between natural existence (organic inertia) and creative tendency (purposeful initiative). Hypertrophy of naturalness dilutes art into formlessness."THE FILMIC FOURTH DIMENSION" (1929) Orthodox montage is montage on the dominant, the foreground, the chief tendency within the frame, the central stimulus attended by a whole complex of secondary stimuli.

These ways are analogous to two basic tendencies struggling in cinema: Kabuki's "disintegrated" acting.

He noticed that his play about a gas factory would have been stronger if produced inside a gas factory. Discussed typage--the method of least interference with the natural course of events.

It is the modern development of the Commedia del arte with its seven stock figures.These secondary stimuli are the overtones and understones.In cinema the trick is to exploit these collateral vibrations to achieve the visual overtonal complex of the shot."METHODS OF MONTAGE" (1929) Metric montage--fundamental criterion is the absolute lengths of the film pieces.Montage--discusses his direction of "The Wise Man" and his use of taking a fragment of dialogue from one scene and leaping with it into the next scene, and also his making the diary film to be projected.Believes that a director should be well grounded in theatrical construction and the art of mise-en-scene (the first two years of the directing course in the State Cinema Institute emphasized this). This is what is done in montage in cinema: combine depictive shots which re neutral and single in meaning into intellectual contexts and series. Disproportionate depiction of an event: talks about child's picture of stove and room and huge matches which show how important they are--that this is natural in humans. feels that "absolute realism is by no means the correct form of perception. thinks of linkage as just a special case of montage. Is most interested in the "copulative" category of heiroglyph where two objects when placed together become a concept which is regarded not as their sum but as their product, a value of another dimension: the ideogram.While his writings might be old, the spirit of his dedication to innovation and experimentation is exactly the thing that will keep cinema new and exciting for many years to come. Editors should know them as vital working tools so they can be either incorporated or reacted against in any given film. Acting with an arm, or leg, breaking up the unity of the actor. Uses as an image the teaching of rifle handling to an illiterate recruit by breaking down the steps as opposed to the "spongy shapelessness" of naturalism. (E.’s definition of film art: the film must plough the psyche of the viewer according to class principles. Talks about two methods of teaching drawing: without reference to the frame, or by cutting out compositional elements from a cherry tree branch (framing). It is simply the function of a certain form of social structure." p. Montage: characterized by the collision of two pieces in conflict from which arises a concept. talks about Pudovkin thinking of montage as linkage and E. Montage compared to the explosions of an internal combustion engine which drive the tractor (or film) forward.


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