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Editing and Montage in International Film and Video Theory and Technique 1St Edition Pdf FREE EDITING AND MONTAGE IN INTERNATIONAL FILM AND VIDEO THEORY AND TECHNIQUE 1ST EDITION PDF LuГѓВ​s Fernando Morales Morante | 9781138244078 | | | | | Editing and Montage in International Film and Video [Book] Montagein motion pictures, the editing technique of assembling separate pieces of thematically related film and putting them together into a sequence. With montage, portions of motion pictures can be carefully built up piece by piece by the director, film editor, and visual and sound technicians, who cut and fit each part with the others. Visual montage may combine shots to tell a story chronologically or may juxtapose images to produce an impression or to illustrate an association of ideas. An example of the latter occurs in Strikeby the Russian director Sergey Eisensteinwhen the scene of workers being cut down by cavalry is followed by a shot of cattle being slaughtered. Montage may also be applied to the combination of sounds for artistic expression. Montage technique developed early in cinema, primarily through the work of the American directors Edwin S. Porter — and D. Griffith — It is, however, most commonly associated with the Russian editing techniques, particularly as introduced to American audiences through the montage sequences of Slavko Verkapich in films in the s. See also photomontage. Montage Article Additional Info. Print Cite. Facebook Twitter. Give Feedback External Websites. Let us know if you have suggestions to improve this article requires login. External Websites. Articles from Britannica Encyclopedias for elementary and high school students. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working Editing and Montage in International Film and Video Theory and Technique 1st edition that content or via study for an advanced degree Editing and Montage in International Film and Video Theory and Technique 1st edition Article History. Britannica Quiz. Character Profile. Get exclusive access to content from our First Edition with your subscription. Subscribe today. Learn More in these related Britannica articles:. Kuleshov ultimately conceived of montage as an expressive process whereby dissimilar images could be linked together to create nonliteral or symbolic meaning. History at your fingertips. Sign up here to see what happened On This Dayevery day in your inbox! Email address. By signing up, you agree to our Privacy Notice. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Montage | motion pictures | Britannica Jukola Art Community. Get Instant Access. Eisenstein was the second of the key Russian filmmakers. As a director, he was perhaps the greatest. He also wrote extensively about film ideas and eventually taught a generation of Russian directors. In the early s, however, he was a young, committed filmmaker. With a background in theatre and design, Eisenstein attempted to translate the lessons of Griffith and the lessons of Karl Marx into a singular audience experience. Beginning with StrikeEisenstein attempted to theorize about film editing as a clash of images and ideas. The principle of the dialectic was particularly suitable for subjects related to prerevolu-tionary and revolutionary issues and events. Strikes, the revolution, and the revolution were Eisenstein's earliest subjects. Eisenstein achieved so much in the field of editing that it would be most useful to present his theory first and then look at how he put theory into practice. His theory of editing has five components: metric montagerhythmic montage, tonal montage, overtonal montageand intellectual montage. The clearest exposition of his theory has been presented by Andrew Tudor in his book Theories on Film. Metric montage refers to the length of the shots relative to one another. Regardless of their content, shortening the shots abbreviates the time the audience has to absorb the information in each shot. This increases the tension resulting from the scene. The use of close-ups with shorter shots creates a more intense sequence Figures 1. Rhythmic montage refers to continuity arising from the visual pattern within the shots. Continuity based on matching action and screen direction are examples of rhythmic montage. This type of montage has considerable potential for portraying conflict because opposing forces can be presented in terms of opposing screen directions as well as parts of the frame. For example, in the Odessa Steps sequence of Potemkinsoldiers march down the steps from one quadrant of the frame, followed by people attempting to escape from the opposite side of the frame Figures 1. Tonal montage refers to editing decisions made to establish the emotional character of a scene, which may change in the course of the scene. Tone or mood is used as a guideline for interpreting tonal montage, and although the theory begins to sound intellectual, it is no different from Ingmar Bergman's suggestion that editing is akin to music, the playing of the Editing and Montage in International Film and Video Theory and Technique 1st edition of the different scenes. In the Odessa Steps sequencethe death of the young mother on the steps and the following baby carriage sequence highlight the depth of the tragedy of the massacre Figures 1. Overtonal montage is the interplay of metric, rhythmic, and tonal montages. That interplay mixes pace, ideas, and emotions to induce the desired effect from the audience. In the Odessa Steps sequence, the outcome of the massacre should be the outrage of the audience. Shots that emphasize the abuse of the army's overwhelming power and the exploitation of the citizens' powerlessness punctuate the message Figure 1. Intellectual montage refers to the introduction of ideas into a highly charged and emotionalized sequence. An example of intellectual montage is the sequence in October George Kerensky, the Menshevik leader of the first Russian Revolution, climbs the steps just as quickly as he ascended to power after the Czar's fall. Intercut with his ascent are shots of a mechanical peacock preening itself. Eisenstein is making a point about Kerensky as politician. This is one of many examples in October Eisenstein was a cerebral filmmaker, an intellectual with a great respect for ideas. Many of his later critics in the Soviet Union believed that he was too academic Editing and Montage in International Film and Video Theory and Technique 1st edition his respect for ideas would supersede his respect for Soviet realism, that his politics were too aesthetic, and that his aesthetics were too individualistic. Figure 1. Courtesy Janus Films. Stills provided by Moving Image and Sound Archives. It is difficult for modern viewers to see Eisenstein as anything but a committed Marxist. His films are almost as naive as those of Griffith in their simple devotion to their own view of life. In the s, whether he was aware of it or not, Eisenstein discovered the visceral power of editing and of visual composition, and he was a master of both. He was dangerous in the same sense that every artist is dangerous: He was his own person, a unique individual. Today, Editing and Montage in International Film and Video Theory and Technique 1st edition is greatly appreciated as a theoretician, but, like Griffith, he was also a great director. That is the extent of his crime. Have you ever wanted to make your own film? Is there a story you want to tell? You might even think that this is impossible. Studios make films, not the little guy. This is probably what you tell yourself. Do you watch films with more than a casual eye? You probably want to know how they were able to get perfect lighting in your favorite scene, or how to write a professional screenplay. Get My Free Ebook. Make Your Movie Now. Responses dillon Is continuity editing rhythmic montage? Katharina Why did eisensteins films pose an emotional impact? Natale Why is rhythmic montage important? Ami Why was eisenstein less concerned with continually editing than his predecessors were? What is montage visual comm? Carl Lowery What are editing tequinics and theory of montage? MARA Why was eisenstein less concerned with continuity editing than his predecessors were? Post a comment Name Comment it up Film editing - Wikipedia The term has been used in various contexts. In French the word "montage" applied to cinema simply denotes editing. From the s to the s, montage sequences often combined numerous short shots with special optical effects fadesdissolvessplit screensdouble and triple exposures dance and music. The word montage came to identify…specifically the rapid, shock cutting that Eisenstein employed in his films. Its use survives to this day in the specially created "montage sequences" Editing and Montage in International Film and Video Theory and Technique 1st edition into Hollywood films to suggest, in a blur of double exposures, the rise to fame of an opera singer or, in brief model shots, the destruction of an airplane, a city or a planet. Two common montage devices used are newsreels and railroads. In the first, as in Citizen Kanethere are multiple shots of newspapers being printed multiple layered shots of papers moving between rollers, papers coming off the end of the press, a pressman looking at a paper and headlines zooming on to the screen telling whatever needs to be told. In a typical railroad montage, the shots include engines racing toward the camera, giant engine wheels moving across the screen, and long trains racing past the camera as destination signs fill the screen. It plays with Italian theatre director Eugenio Barba's "space river" montage in which the spectators' attention is said to "[sail] on a tide of actions which their gaze [can never] fully encompass". He devised vivid montages Editing and Montage in International Film and Video Theory and Technique 1st edition numerous pictures, mainly to get a point across economically or to bridge a time lapse.
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