Utilising Soviet Montage Theory to Consider Future Narratives, Designed For New Technologies

Susan Scott Whitireia New Zealand Porirua Ph 64 327-3100 [email protected]

ABSTRACT The contributions of Eisenstein, Podovkin and Soviet Montage Theory to film editing have, and should never be underestimated. However what is so commonly overlooked is Eisenstein’s concept of internal montage. His theories were not all about editing. Eisenstein was as interested in how visual and audio material could be layered within a shot (or shots) as he was in the editing of them together side by side. In keeping with McLuhan’s thinking I argue that humans are capable of envisioning types of media long before technologies allow them to exist. I believe that Eisenstein’s concept of internal montage demonstrates this point. Eisenstein was considering filmic narrative devices that today’s technologies can explore on a much higher level and very differently than was possible in his time. Keywords: motion graphics, hybrid medium, Motion graphic film story, Motion graphic design, Storytelling, moving image design, virtual reality, Soviet Montage Theory.

1. INTRODUCTION larger contexts. Whilst library shelves are full of books on film I have long been following the relationships between the theory there is very little discussion on how new technologies, changes in narrative structures and the changes in technologies; and techniques effect film language. Although motion graphics and ask; if Eisenstein and Podovkin had access to motion are common, particularly in advertising, music videos and graphic technologies or to virtual reality technologies, how opening film titles, theory that discusses motion graphics is would their theories have been applied? What would Eisenstein limited; Manovich described academics as “having remained have created? This paper examines their most relevant theories blind to it” (Manovich, 2006, p. 5). and describes content that begins (by accident or not) to demonstrate examples of internal montage. I have begun to build a film applying some of these theories. To some degree this research is a combination of, on one level standing on this shoulders of one great giant; and on a second level trying to look backwards to see forwards. I will start by strongly referencing Mast (1981) who simply and concisely describes Eisenstein and Pudovkin’s Soviet Montage Theory within the context of the Kuleshov School. I will then go on to consider an example of this thinking in conventional cinema, then move to discuss applications of his thinking within motion graphics. Finally I will use this theoretical base to consider how a new film language could evolve utilizing new technologies. 2. METHODOLOGY This paper represents the interpretational section of a much larger (Scott, 2011) and mixed method work that is to become a motion graphic film. Contextualising digital processes into a historical framework is an essential part of this process. Peter Lunenfeld supports this approach and writes in his preface to the book Design Research Methods and Perspectives by Laurel, (2003) “The importance of research into design process which includes traditional, historic and aesthetic studies of art and design cannot be overstated” (p. 11). His argument incorporates the idea that the hype and debate relating to new media enforces the need for historical and aesthetic background so that designers may see their work in

This quality assured paper appeared at the 6th annual conference of Computing Fig 1: Summary of the elements of Soviet Montage Theory and Information Technology Research and Education New Zealand as described by Mast (1981). (CITRENZ2015) and the 28h Annual Conference of the National Advisory Committee on Computing Qualifications, Queenstown, New Zealand, October 6- 9, 2015. Michael Verhaart, Amit Sarkar, Rosemarie Tomlinson and Emre Erturk (Eds). 3. MAST AND MONACO ON SOVIET found that parts of different people’s bodies could be filmed as MONTAGE THEORY though they are one (Monaco, 1981, p. 152). The Russians focused on narrative and emotional effects in 4. A MORE RECENT CASE STUDY cinematic storytelling. These can be broken down into the USING THESE TECHNIQUES? narrative, intellectual and kinetic editing techniques. The In this section I demonstrate through an example, the ways narrative cuts included editing which relates to sequential mechanisms derived from Soviet Montage Theory continue to action. The premise of the Kuleshov thinking, as Mast occur in more recent films. describes it, is that we can analyse action and put it together through its most interesting elements (Mast, 1981). Arguably For this demonstration of the Kuleshov School principals I almost all narrative feature films today demonstrate a level of have chosen the film Amadeus (Zaentz, 1984), considering the this language. Also associated with the narrative cut was the sequence where the messenger comes to pick up Mozart’s idea that we can cut back and forth in time and from one place requiem. We start with a close-up of some spooky-looking to another. Today we would associate this either with the stuffed birds. We pan across what looks like a dressmaker’s flashback (or flash-forward) and the cross-cut, which deals cosy shop, past a group of women having a shawl measured, with two sequences of action running at once. An example of with a hatbox in the background. The hatbox is passed from this could be somebody about to jump off a building whilst one man to another. We cut to a long shot of a man running up somebody else runs to their rescue. Mast describes how a copy the street with the hatbox. We cut to a close-up of a feverish- of Intolerance had been smuggled into Russia and analysed by looking Mozart drinking. Then we cut to a close-up of a cape the school and states that “these lessons in editing had been being removed from the hatbox. We cut to a long shot of a learned from Griffith” (Mast, 1981, p. 153). caped man entering a tunnel, then back to a mid-shot of a sicker-looking Mozart frantically writing whilst pouring a Intellectual shots deal with metaphor, contrast (juxtaposition) drink. We cut back to a long-shot of the caped man moving and parallel cuts. The example of metaphor Mast gives is from through the snow. The man passes a lit window. We cut to a group of workers being mown down by soldiers, cutting to Mozart writing, with his bottle carefully framed, and we hear the slaughter of an ox in a stockyard. Eisenstein did this in the door knock. We cut to a mid-shot as Mozart goes to the Strike (Mast, 1981). door, and then a close-up of his face looking shocked. We cut back to a close-up of a masked man in a cape. The metaphor describes humans as being slaughtered like cattle. The contrast cut could start with a shot of a starving man Here shots have been chosen because they suit the themes of cutting to a group of people feasting. Here a third meaning is the story. The shop could be a studio and it is unlikely the created, communicating the concept of greed. Converse to this tunnel is en route to Mozart’s house but visually they make use of contrast, intellectual shots can reinforce each other sense because of the screen navigation. through the parallel cut. This could include a shot of a The kinetic effects of the sequence lie with the way in which condemned man sentenced to die, cutting to the thief who the editing increases pace right up until Mozart opens the door; murders a victim. Metaphoric contrast and parallel cuts all have this is supported by the music, which also stops when the door an emotional dimension. is opened. The concept of simultaneity is based on the idea that several This juxtaposition is not just a result of direction, but also the strands of thinking resolve at one time. The third kind of shot work of production design from storyboarding to art deals with pure emotion and is well described by Mast who department. Although this is a Hollywood film, not an art film states; that; “the very method of joining strips of celluloid striving to reference Soviet Montage, the sequence shows together, rather than their content, produces an almost examples of many of the montage theorists’ techniques. These subliminal kinetic response in an audience that a director can include the sequencing of points of the action: the juxtaposition almost unobtrusively control” (Mast, 1981 p. 154). Mast between the creepy stuffed birds and the cosy clothing shop; describes these kinetic responses as dealing firstly with rhythm, the parallel between the frantically-writing Mozart and the beat, slowness and acceleration but then goes on to describe running man; and the juxtaposition between the snowy outside tonal response: shots getting darker or lighter signifying a and the yellow warm interior of Mozart’s room (the associated change in mood or time. metaphor described could be his fever). The third type of kinetic cut is the form cut: cutting from two This all leads to moment of simultaneity when Mozart opens similar or very different objects. A famous example of the form the door and the man is wearing a mask not too dissimilar from cut can be seen in 2001: A Space Odyssey (Kubrick, 1968) one of the creepy bird faces at the beginning of the sequence. where a shot of a spinning bone cuts to a spaceship, a (Because we know the story of Mozart, we think this man is directional reference to man’s achievement in time. Finally coming for Mozart’s requiem.) An example of leitmotif within Mast describes how the Kuleshov workshop discovered the this sequence could be Mozart’s drinking which comes up directional cut in which we can cut from movement across the repeatedly within the film. The concept of creative geography screen in one direction to that of the reverse. This movement when working well is hidden. We can speculate that the city may create a feeling of collision; conversely movement in both shots have been chosen because they suit the themes of the shots in the same direction, will create a feeling of story. continuousness or flow. A single cut can function on all three narrative levels. The 5. HOW CAN WE DEFINE MOTION Soviets “argued that most cuts must function on all three GRAPHICS AND TECHNIQUES levels.” (Mast, 1981, p. 154) Further to this Pudovkin was I define motion graphics as a hybrid medium that utilises interested in leitmotif - the reiteration of themes. design and formal content to communicate graphic, moving Another concept that emerged from the Kuleshov School was image solutions. By formal content, I include material that is called “creative geography”: the principle that shots from selected and processed through graphic, moving or conceptual different locations can be placed together as though they are relationships in response to a problem or theme. My definition one. Similarly, with the concept of creative anatomy Kuleshov is inclusive of the concept of narrative and storytelling as a means of communication. I also acknowledge a motion graphic heritage that come from fine art as well as the levels of problem solving and communication that relate to graphic reality. Another similarity to the Soviet montage theorists design. The table below describes a range of other definitions appears when practitioners demonstrate ideas on how motion not all are inclusive of narrative. However we define Motion graphics communicates, these appear very close to Eisenstein’s Graphics we associate them with the effects we see in concepts of collision and linkage. Differences, however, reside advertising and opening credits. They include effects that are with the greater emphasis placed on overall concept and whole more aligned with creating an emotional feel than the types of form that motion graphics portray. special effects we see in films which try to make fantasy seem The question that arises is, does this thinking come directly real. from research into Soviet Montage Theory? There a vast range of techniques that are associated with this It is commonly noted that Kyle Cooper studied under Paul medium and whole theses describing them technically. Some Rand and did his Yale masters thesis on Eisenstein. Although effects include; paint-on, multiple layers, moving typography, Codrington attributes Cooper’s “editorial sensitivity” time-remapping, symbols, animation, objects build and (Codrington, 2003, p.19) to this research she does not discuss assemble themselves, fade-in and fade-out and much more. In Cooper’s work in direct reference to Eisenstein’s theories. essence we see a shift from cut to cut presentation of Neither is Cooper’s thesis discussed in any detail in her book. information to a continuous remixing and layering of To date, I have been unable to gain a copy through any library information. catalogues. There is, however, the evidence of applied Soviet Montage Theory apparent in Cooper’s work. Table1: Definitions of motion graphics Cooper’s works include the titles to Seven (as cited in Carlyle, Practitioner Motion Graphic definitions 1995), Mission Impossible (as cited in Prologue, 2004), and Spider-Man (as cited in Prologue, 2004). A timeline in the (Curren, “Motion graphics is a term used to describe a broad front of the book Pause: 59 Minutes of Motion Graphics 2001, p. 14) range of solutions that graphic design professionals describes Cooper’s Seven as a work that “spawns a new wave employ for creating a dramatic and effective of title design” (Hirshfield, Barth, Hall and Codrington, 2000, communication design for film, television, and the p. 2). Internet. It combines talents such as design, filmmaking, writing, animation, information Akin to the Soviet montage theorists experiments, Cooper has architecture and sound design into a profession.” worked with a range of footage; for example, in titles for The Island of Dr. Moreau, (Pressman, 1996) a film about the (Frantz, “I will define motion graphics as designed non- disastrous results of genetic tinkering, Codrington describes 2003, para. 4) narrative, non-figurative based visuals that change how “Cooper and his RGA/LA assembled a wildly over time.” heterogeneous array of visual source material, including stock medical photography, digital illustrations and computer- (Sandhouse, “A broad field of design and production that generated animation” (Codrington, 2003, p. 12). There are four 2006, p. 1) embraces type and imagery for film, video and hundred discrete shots in these titles which are less than two digital media, including animation, visual effects, and a half minutes and took four months to edit. Codrington film titles, television graphics, commercials, multimedia presentations presentations, architecture, describes them “as - a visually orgiastic assault on the and video games.” senses...” They strongly portray Frankenheimer’s brief to create a sense of “cellular violence” (Codrington, 2003, p. 11). They depict high levels of juxtaposition, high levels of contrast Manovich “I will define motion graphics as designed non- in colour and visual scale, but are held together by a limited cites Frantz narrative, non-figurative based visuals that change (Manovich, over time... it manifests itself most clearly in non- colour palette that flashes from warm red deep oranges to cold 2006, p. 6) narrative forms, it is also often present in narrative blues. and figurative sequences and films.” The content is also held by constant visual themes of animal eyes and cells with bright colours and large black type (Sheffield, Sheffield uses Frantz’s definition. superimposed on them; conversely dark colours have small 2007, p. 10) “I will define motion graphics as designed non- narrative, non-figurative based visuals that change white type superimposed on them. Sometimes the type collides over time.” against itself in the form of contrasting layers. Despite this connection it may be that motion graphic designers may be reaching similar conclusions to those of the Soviets as a result of direct experience and observation. This also 6. SOVIET MONTAGE THEORY AND demonstrates that motion graphic designers are considering not MOTION GRAPHICS just what motion graphics is, but how it works. The literature reveals similarities between the aesthetic and Ironically, one of the strongest arguments in support of the narrative goals of motion graphic designers and those of the parallels between the Soviet montage theorists and motion Soviet Montage Theorists. graphic designers came from Sheffield (2007) who actively Dominant themes relating to the need for motion graphic artists denies any relevance. Whilst on one level Sheffield claims that to affect audiences on an emotional level can be cited within montage theory is not relevant because in graphic film there is articles by Trollback Company, Ziegler, Greco and Riggs, no editing, he later describes something very close to the (2002) as well as Saul Bass (1996) and others. Famous motion concept of collision and linkage. graphic designer Garson Yu actually stated “the most Sheffield states, “streams of narrative often diverge and important effect motion graphics can have is to make an converge acting in harmony or creating tension” (Sheffield, emotional connection with the audience” (Garson Yu as 2007 p.41). Although when Sheffield refers to imagery cited in Drate et al., 2006, p. 21). diverging and converging, he is not referring to editing, he is As I will later describe, motion graphic practitioners also share discussing the relationships between images, as I will soon values akin to the Soviet montage theorists in discussions on point out. Soviet Montage Theory also extends beyond editing. juxtaposition and abstraction of worlds in order to re-examine Along with the Soviet Montage theorists, Sheffield describes juxtaposition; he describes how in, 4D Softcore Sweater Porn (2001), a film which pays homage to the aesthetics of 1960s Monaco’s comment from the early eighties is no longer knitting patterns. In this example, the 3D character is a toy appropriate; he wrote, “...there are only two ways to put two monkey, a hard plastic form juxtaposed amongst the soft planes pieces of film together: one can overlap them double exposure, of the suburban construct. It is an unnerving object, out of dissolves, multiple images, or one can put them end to end. For place and more than a little unsettling” (Sheffield, 2007, p. 34). images the second alternative dominates almost exclusively” It is a misconception that Soviet Montage Theory is only about (Monaco, 1981, p. 183). Although this may have been the case editing. In fact, it is about relationships between and within well into the eighties, compositing has increasingly become an images. This can be demonstrated by Eisenstein’s interest in established practice in film and is essential to a wide range of the dialectics or “attractions.” He extended this thought even effects techniques in both special effects and motion graphics. into considerations of a single shot, Eisenstein writes: This offers us new graphic ways to layer ideas. “...every aggressive moment, every element that brings to Berton, in an article Film Theory for the Digital World: light in the spectator those senses or that psychology that Connecting the Masters to the New Digital Cinema, takes this influence his experience – every element that can be idea further suggesting that digital technology provides verified and mathematically calculated to produce certain filmmakers with, “complete control and responsibility for the emotional shocks in a proper order within the totality content” (Berton, 1990, p. 7). He claims that “many digital ...”(as cited in Monaco, 1981, p. 326). cinema artists attempt works wholly dependent on internal montage” (Berton, 1990 p. 7). However, he is concerned other A strong example of this may be seen in the Odessa steps forms of montage may be lost. He continues stating, “with sequence of Potemkin (Eisenstein, 1925) which is essentially a more control over interior montage than their cinematic battle scene in which Eisenstein not only cuts back and forth counterparts digital artists must not forget that exterior and between shots of oppressors and victims, but layers oppressors vertical montage can and probably should figure in the creation and victims, young and old etc., within the shot. For example, a of any cinematic work” (Berton, 1990, p. 8). In this article mother picks up her wounded son and turns to face the Berton is discussing digital cinema, not motion graphics soldiers; she is shot down; the crowd runs down the steps, specifically. trampling those shot down; two groups of soldiers fight with the innocent caught between them; a child’s pram rolls down All of the works discussed include internal montage but the steps in the foreground of this shot an old man lies dead continue to demonstrate montage sequentially (external facing upward. This use of juxtaposition within a shot was montage) as well as vertically. By vertical montage Berton termed internal montage. Eisenstein’s work is about means interaction with elements using sound music and colour. relationships between imagery. Editing was his way of shifting Some of Eisenstein’s notes suggest he may have foreseen a from one image to another. Today through the use of Motion greater use of layered imagery, or possibly even other forms of Graphics and Virtual Reality technologies we can very internal montage. For example, in Film Form Eisenstein wrote effectively run layers of visual information that shift a chapter titled, “The Fourth Dimension,” discussing simultaneously from scene to scene. “overtonal conflict” in relation to music, imagery and type Although the use of juxtaposition within a single frame is less (Eisenstein, 1945/1977, p. 69). Eisenstein wrote “a shot is by common in more recent feature films, it does exist. For no means an element of montage, the shot is a montage cell” example, in Barton Fink (Coen, 1991) we are confronted with (Eisenstein, 1945/1977, p. 37). Eisenstein discussed the visual the greasiest of hotel rooms, so sweaty that paper peeling off relationships between pieces of film footage laid out on the the wall has become a reiterated theme. On the wall, however, table with both dialectical conflict as well as dominant ideas is an image of a beautiful young woman sitting on a beach. The and connotations operating together. Without engaging in contrast of this image highlights the grottiness of the room. The comparisons of interpretations by different writers, the concept film ends with the main character burying a box in the sand that this chapter may be interpreted in a number of ways is which we assume holds the head of his dead counterpart, and supported by the notion that Eisenstein may not have been then we see her. The image on the wall is reconstructed but it entirely sure of his argument himself. At one point he wrote: has a very different meaning given the catastrophic events that “The Fourth dimension, Eisenstein? or mysticism? or joke?” have occurred throughout the film. The themes between the (Eisenstein, 1945/1977, p. 69). two sets of internal montage have been reversed, his utopia has Whatever he may mean, I argue in contemporary film stories become his nightmare. internal montage is seen to a lesser extent, while in motion graphics it occurs frequently. Layering of imagery, moving mattes, imagery painting on and off, allow for greater levels of internal montage between simultaneously - running shots. Some examples of works that support this are as follows: In Cooper’s title designs for Wild Wild West (Cooper, 1999) we see kinetic rhythms, contrast, repetition across frames, concepts playing with scale as well contrasting content playing simultaneously; for example, a close up of Salma Hayek’s lips are composited next to a spinning pistol. An example of a form cut includes a spinning train wheel, against revolving type. In Skindive’s video for the song Tranquillizer (2010) a child views “a montage” of disturbing imagery from the modern world. The music video is of a small boy watching a huge television showing an old tramp, shifting through the city with a supermarket trolley. The imagery begins with the layering of symbols. The imagery is noisy, distorted, abused and Fig 2: Beach Image From Barton Fink (Coen, 1991) ambiguous, but this visual confusion causes the viewer to ask Technology aids our ability to layer imagery together and the questions. Who is the old man? Is the child watching himself in way films are made is in some areas changing. For example, a future time? Where is the man? Why is the child watching this? Tranquillizer is described by Greene (2003) as that rare for help, conveying an overwhelming sense of helplessness” piece of media that transcends the standard viewing experience (Ziegler, Greco and Riggs, 2002, p. 76). by “drawing the viewer into a strange yet familiar world, where On other levels relating to Soviet Montage Theory, we have his or her own predilections and subconscious are as important, designers working with kinetic effects through the destruction if not more so than the story being unveiled” (Greene, 2003 p. of imagery. Jeff Scher is a motion graphic artist who 164). experiments with high contrast film collisions of quickly cut together street-found objects. He demonstrates how an unexpected story occurs from the fast abstract colliding fast paced graphic forms. As Scher puts it, his “film is an experimentation of an idea of content contradicting form and how we are just such a narrative species we can read form despite endless abuse, replacement and distraction” (Hirshfield, Barth, Hall and Codrington, 2000 p. 03h12m23s00f). Whether or not we can read several sets of opposing imagery consistently becomes a problem. If the action is fast the reader is likely to become confused. Sometimes this confusion contributes to a desired emotional effect. At other times, it may be desirable for a particular layer to be understood. A level of hierarchy is required for a specific element to communicate well. Film theorists seem less often to describe how “later Eisenstein developed a more elaborate view of the system of attractions in which one was always dominant while others were more subsidiary - this conflicted with the concept of neutralisation, which supposedly prepared all the elements to be used by the filmmaker” (Monaco, 1981, p. 327). One of the apparent strengths of motion graphics is the control over visual hierarchy that graphic techniques offer. Managing this will be crucial to the development of my multilayered motion graphic story. Conversely, one of the challenges lies with how the works hold together as a whole. To Cooper’s Fig 3:Images from Skindive’s (2010) video for the song renowned motion graphics company Prologue, the goal of the Tranquillizer hybrid medium is to “engage people emotionally (as cited in Drate et al., 2006, p. 26).” But they stress the importance of Another story told through internal montage is the music video collaboration, stating, “our capabilities and our identity is for Faster Way to Start the Day by Honest. This is a reasonably stronger because of who we are as a group” (as cited in Drate conventional story, told through dual meanings operating et al., 2006, p. 26). They discuss a cohesive vision relating to simultaneously. This work is a cross between a documentary process and concept. style, a motion graphic style and a more traditional film narrative. The work allows for three threads of narrative to run Similarly, Trollback Company states, “emotional connection is at the same time. The actions of the characters are similar but the result of a process where an idea is turned into a concept, their personalities are very different. This work is presented as and that concept drives the creative execution.” “The design is a research documentary trying to determine the key qualities born from the idea not the other way around.” They also for morning efficiency. suggest “every solution must be unique” (as cited in Drate et al., 2006, p. 23). The subjects include a lawyer, an entrepreneur, a professor and a slob. The slob has been fired from his own hotdog stand. A This highlights a difference between the motion graphics series of mishaps happens to all except the slob, who stumbles practitioners’ thinking and early film theorists’ ideas. This off the couch at the last minute. The definitive findings of the takes us closer to concepts of whole form. Motion graphics research are: “never buy an alarm, don’t brush your teeth, don’t appear to have gone through a development process that takes take showers and dirty clothes are preferable. Follow these the sense of concept (which I argue comes from its fine art rules and you too can be a specimen of efficiency.” Whilst this heritage but has continued to develop through design) and piece is a funny satire and the concept is strong, I found the utilised this to build metaphors to introduce film stories. This is idea impossible to separate from the way it is told. It works not a process that allows for stronger relationships between content just because of the contrast between the characters, but also and form. More contemporary works have developed these because of the contrast between how the narrator is describing metaphors into structures through which the visual the situation compared to what is actually happening. For relationships are controlled. This increased control actually example, the narrator describes the slob as “leaping off the gives us greater power in the context than for the Soviet couch like a cheetah,” when he is barely moving. The work is Montage Theory. presented through split screens with very simple graphics (I, Taking the Soviet idea that “it was necessary to destroy realism Pro, 2005, p. 204). in order to approach reality” (Monaco, 1981, p. 327), when we Whilst the previous work creates humour through quite simple pull imagery apart to re-examine it, we have the power to parallels and contrasts, motion graphic dialectics sometimes create links to other ideas. Through motion graphics we have appear to shred and destroy imagery in order to create collision greater power to examine reality through the layering of and linkage. Meth 911 is a short motion graphic film visually information in order to mould and form our emotions. It is Saul describing “the emotion” of the 911 call. It describes how Bass who has made the initial connections between the motion “fragments of text are” juxtaposed to voiceover’s frantic call graphic form and storytelling content. Bass comments on the use of metaphor in order to emotionally Bordwell, D. and Thompson, K. (2008). Film art: an connect audiences to the story. He states; “My initial thoughts introduction. (8th ed.). Boston: McGraw Hill. about what a title can do was to set mood and the prime Codrington, A. (2003). Kyle Cooper. London: Laurence King. underlying core of the film’s story, to express the story in some metaphorical way. I saw the title as a way of conditioning the Coen, E. (Producer). J. Coen (Director). (1991) Barton Fink. audience, so that when the film actually began, viewers would [Motion Picture] United States: Circle Films and Working already have an emotional resonance with it” title Films. (Bass on Titles, 2010). Cole, H. & Haag J. (2002). The complete guide to standard 7. CONCLUSION script formats. North Hollywood: CMC Publishing. In considering the techniques associated with motion graphics Cooper, K. (2010) Contemporary Perspectives Lecture Series such as paint-on, multiple layers, typography, time-remapping, Coupland, K. (1998) Bass the name behind the Titles. Graphis, symbols, animation, and a whole range of effects we have a 54, (316) 102-105. palate of ways through which to transition through a story. In considering a range of works and the dialogue of practitioners Courau, P. Froment, R. (Produceers)(1961)Renaise A. we know that there are strong story mechanisms arising and (Director) The Last Year At Marienbad, [Motion Picture], these show a similarity to the conceptual thinking of the Soviet Germany, France, Italy, USA: Cocinor, Terra Film, Montage Theorists. Cormoran Films. I have shown evidence that these narrative systems are Curran, S. (2000). Motion graphics: graphic design for currently functioning within existing short works and yet the broadcast and film. Gloucester: Rockport Publishers. Motion Graphic feature is yet to enter our cinemas. Other Drate, S. (1999). Emotional digital : a sourcebook of theoretical models that are older and relate to the greater contemporary typographics. / edited by Alexander concepts of what a story is, (for example that which comes Branczyk ... [et al.] from Aristotle and tells us of plot and structure) also need to be Design museum, Saul Bass, Graphic Designer (n.d.) Retrieved considered but are beyond this paper. December 10, 2010, Through this theory and a great deal of practice the motion fromhttp://designmuseum.org/design/saul-bass graphic film may emerge and perhaps the two dimensional Dennis J. (2000) A Colour Box, In J. Bouhours and R. cinema screen is not the platform. Perhaps a virtual world such Horrocks (Ed.), LenLye (p.191-193) Paris: Centre as the Oculous Rift would be a better means for the layered Pompidou. story that will need to evolve. Whatever the case articulating the mechanisms that are at play as we transition through the Doran, L. (Producer). Forster M. (Director). (2006) Stranger mediums will help this medium to develop. than Fiction [Motion Picture & DVD] United States: Crick Pictures I believe that the story that will evolve will be style-centred, but will have a story structure that accommodates some form of Eisenstein, S. (1977) Film Form: Essays in Film Theory. (J. plot, and themes. The answer will likely reside in a Leyda, Trans.) United States Of America: Harcourt Brace, multilayered narrative system that employs these techniques Jovanovich publishers. (Original work published 1945). found within Soviet Montage Theory and already evident in Frantz, M. (2003) Changing Over Time: The Future of Motion short media. I have begun the experimentation and practice to Graphics. Retrieved September 21, 2015 from, continue this investigation. https://benjaminhallwriting.wordpress.com/2014/10/28/ch I believe that for this new story medium the greatest challenge anging-over-time-the-future-of-motion-graphics/ will be resolving the problems associated with the layering of Greene, D. (2003). How did they do that? : Motion graphics. content and effectively communicating through interweaving London : Gloucester, Mass. : Rockport Publishers. of simultaneous narrative lines. There is much to explore. Hall, P. (2000). Pause: 59 minutes of motion graphics / text by Through a cross-pollination of the disciplines, design and film Peter Hall and Andrea Codrington; compiled and and technical research, I have placed motion graphics in a designed by Julie Hirschfeld and Stephanie Barth. greater theoretical context. For me this is the beginnings of a London: Laurence King. theoretical foundation on which to build. Pro, I. Flips 8: Moview (2005) North Point, UK Victionary.

Laurel, B. (2003). Design research: methods and perspectives.

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