How Does the Theory and Practice of Montage Cinema as Seen in Eisenstein and Vertov Differ from Mainstream Cinema of the Same Period?

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How does the theory and practice of montage cinema as seen in Eisenstein and Vertov differ from mainstream cinema of the same period? Discuss with reference to critical material and any film examples you want to use. You need to remember to include the theory in this essay to help ground a compare and contrast-type answer Eisenstein,s beyond the Stars: The Memoirs of Sergei Eisenstein,ed.Richard Taylor,trans.William Powell. British Film Institute: London In the first of my film,Strike,I wanted to take the terror of the finale to a high point. The most horrible thing in the representation of blood is blood itself. In the representation of death-death itself. True, this already is a bit of a leap beyond the bounds of artistic means. But we were working with a truly tragic instance:a crushed strike and mass shooting. And so through montage I spliced into the acted scenes of slaughter pieces of real blood and death. Nesbet, A. (2007), Sergei Eisenstein and the shaoe of thinking, I.B Tauris, New York. “Montage “ was supposed to be able to bring together the disparate element of Strike’s finale: the concrete dhock of the slaughterhouse; the message and the acted scenes of worker’s rout. Eisenstein has become so thoroughly identified with montage in standard histories of film that it is unsettling to discover that his first attempt at film-making was found wanting precisely in that area, (Nesbet,2007) Lev Kuleshov claimed that Eisenstein was someone who knew how to work with single frames but did not yet have proper control over editing techniques. The recombination of the film actor’s body according to the plans and desires of the editor,was just one part of the program, being a necessary prerequisite to the montage process.The modern cinema actor,once swallowed up by the cinema machine, was to be treated like the workers of Packington. Montage ,then

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