Montage theory of Sergei Mikhailovich Eisenstein
Montage = mounting over shots while editing
= joining the shots
Montage is a conflict of shots (for Eisenstein)
Montage is a thought process = sensual growth of thought
Conflicts
• Intra – shot conflict (conflict within a shot) :
Conflict of image size, camera movement, camera height, camera angle, lighting, the dialogues, music, effects, actions of the character(s), duration, screen direction, distance, the nature of colour
• Inter – shot conflict (conflict between two shots or among many shots)
The similarity between Russian montage and the modern montage sequence ends, once it has been admitted that both use stings of rapidly following shots. The modern montage sequence, as most commonly used is merely a conventional way of presenting a series of facts which are necessary to the story but which have little emotional significance, do not merit detailed treatment.
Montage was used by early Russian directors as a synonym for ‘creative editing’ as is still used in France to denote simply ‘cutting’. The term montage sequence as used in British and American studios means something more specific and limited; it refers to the quick impressionistic sequence of disconnected images, usually linked by dissolves, superimpositions or wipes and used to convey passage of time (lapse of time), change of place or any other sense of transition.
But for Eisenstein, the story merely provides a convenient structure upon which to build on exposition of ideas; to him, it is the conclusions and distractions which can be drawn from the actual events which are of first interest.
According to S.M. Eisenstein there are five kinds of montage -
• Metric Montage – montage according to the length of the shot, tension could be added and reduced by adding and reducing the length of the shot with mathematical work. Measured with metres.
• Rhythmic Montage – movement in the rhythms of the shot. In this montage feeling is important. गतीशील, छन्दात्मक, लयात्मक, पीडा, वेदना र कष्ट। Character अथवा पात्रले बन्दूक तर्स्याउनु ठुलो कुरा होइन – तर त्यसबाट उत्पन्न हुने पारीणाम (कष्टकारक अनुमती, important हुन्छ).
• Tonal Montage – structure of a tone in a shot. Black, white, red, faded (घुर्मैलो), brown, dark, light; clear (सङ्लो), etc.
• Over tonal Montage – overtones of music to create a feeling. It is the 4th dimension – no time and no place is of importance – to feel something, to understand something, is over tonal montage.
• Intellectual Montage – shots having two opposite meaning or various meanings when joined together, may give a different meaning can be seen with our eyes. But the meaning derived from their fusion can’t be seen. It can only be felt or realised. For example:
• Peak + bird = sing
• Mouth + baby = cry
• Ear + door = to listen, to spy
• Knife + heart = sorrow, trouble, etc.
Montage = mounting over shots while editing
= joining the shots
Montage is a conflict of shots (for Eisenstein)
Montage is a thought process = sensual growth of thought
Conflicts
• Intra – shot conflict (conflict within a shot) :
Conflict of image size, camera movement, camera height, camera angle, lighting, the dialogues, music, effects, actions of the character(s), duration, screen direction, distance, the nature of colour
• Inter – shot conflict (conflict between two shots or among many shots)
The similarity between Russian montage and the modern montage sequence ends, once it has been admitted that both use stings of rapidly following shots. The modern montage sequence, as most commonly used is merely a conventional way of presenting a series of facts which are necessary to the story but which have little emotional significance, do not merit detailed treatment.
Montage was used by early Russian directors as a synonym for ‘creative editing’ as is still used in France to denote simply ‘cutting’. The term montage sequence as used in British and American studios means something more specific and limited; it refers to the quick impressionistic sequence of disconnected images, usually linked by dissolves, superimpositions or wipes and used to convey passage of time (lapse of time), change of place or any other sense of transition.
But for Eisenstein, the story merely provides a convenient structure upon which to build on exposition of ideas; to him, it is the conclusions and distractions which can be drawn from the actual events which are of first interest.
According to S.M. Eisenstein there are five kinds of montage -
• Metric Montage – montage according to the length of the shot, tension could be added and reduced by adding and reducing the length of the shot with mathematical work. Measured with metres.
• Rhythmic Montage – movement in the rhythms of the shot. In this montage feeling is important. गतीशील, छन्दात्मक, लयात्मक, पीडा, वेदना र कष्ट। Character अथवा पात्रले बन्दूक तर्स्याउनु ठुलो कुरा होइन – तर त्यसबाट उत्पन्न हुने पारीणाम (कष्टकारक अनुमती, important हुन्छ).
• Tonal Montage – structure of a tone in a shot. Black, white, red, faded (घुर्मैलो), brown, dark, light; clear (सङ्लो), etc.
• Over tonal Montage – overtones of music to create a feeling. It is the 4th dimension – no time and no place is of importance – to feel something, to understand something, is over tonal montage.
• Intellectual Montage – shots having two opposite meaning or various meanings when joined together, may give a different meaning can be seen with our eyes. But the meaning derived from their fusion can’t be seen. It can only be felt or realised. For example:
• Peak + bird = sing
• Mouth + baby = cry
• Ear + door = to listen, to spy
• Knife + heart = sorrow, trouble, etc.
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