History of the montage
Soviet Montage
summarise the different approaches to montage between the following film makers:
Lev Kuleshov was a pioneer in Russian film making and studied the techniques of Hollywood director D.W. Griffith. He is most famous for explaining a technique of film making to make the viewer associate certain feelings or Ideas about what a character is experiencing by manipulating the subject matter that comes before it. This can be seen through a mainly neutral photo of a man. If a bowl of food is put before this image, then the audience may think the man looks hungry, but if a young woman is shown before hand the audience may see him as a creepy old man. This type of film making was coined as the Kuleshov Effect. While film editing had been done in many productions and projects before Kuleshovs, the uses of the editing techniques weren't fully understood by a majority of film makers, until the use of the Kuleshov effect in montages was shared with the public.
Sergei Eisenstein: Odessa steps
This famous montage was featured in the 1925 soviet film Battleship Potemkin, Directed by Sergei Eisenstein. His recreation of the massacre on the Odessa Steps during one of the Russian revolutions made effective use of quick cuts, which were used to create a sense of chaos and confusion. This helped to demonstrate to the audience the fear and the terror of the massacre that the people themselves would have experienced. The timing of the montage sequence also adds to the overall mood of the scene. Longer shots, as well as repeated shots give the sequence a longer and drawn out feeling to it. This was likely done to remind the audience of how when we witness tragedies time almost seems to slow down and stretch on forever. These techniques of both filming and editing were not used to this degree previously, and marks the Battleship Potemkin and Sergei Einstein as an Important part of film history, and his techniques have been used repeatedly since his film by countless films and film makers.
Dziga Vertov
Vertov was another Soviet filmmaker whos works pushed the boundaries and preconceptions that many other filmmakers at the time had. His most famous work was the 1929 film, Man with a Movie Camera. the experimental documentary showed the daily life of what a film director does, and featured many experimental techniques, with a focus on how shots were framed rather than a concrete story. Dziga Vertov also coined the term Kino eye (film eye). He believed that the world is seen more clearly through the eye of the camera then the human eye. His works included many more advanced techniques compared to other works of the time, including Jump cuts, superimpositions, split screen, motion camera and camera angles.
summarise the different approaches to montage between the following film makers:
Lev Kuleshov was a pioneer in Russian film making and studied the techniques of Hollywood director D.W. Griffith. He is most famous for explaining a technique of film making to make the viewer associate certain feelings or Ideas about what a character is experiencing by manipulating the subject matter that comes before it. This can be seen through a mainly neutral photo of a man. If a bowl of food is put before this image, then the audience may think the man looks hungry, but if a young woman is shown before hand the audience may see him as a creepy old man. This type of film making was coined as the Kuleshov Effect. While film editing had been done in many productions and projects before Kuleshovs, the uses of the editing techniques weren't fully understood by a majority of film makers, until the use of the Kuleshov effect in montages was shared with the public.
Sergei Eisenstein: Odessa steps
This famous montage was featured in the 1925 soviet film Battleship Potemkin, Directed by Sergei Eisenstein. His recreation of the massacre on the Odessa Steps during one of the Russian revolutions made effective use of quick cuts, which were used to create a sense of chaos and confusion. This helped to demonstrate to the audience the fear and the terror of the massacre that the people themselves would have experienced. The timing of the montage sequence also adds to the overall mood of the scene. Longer shots, as well as repeated shots give the sequence a longer and drawn out feeling to it. This was likely done to remind the audience of how when we witness tragedies time almost seems to slow down and stretch on forever. These techniques of both filming and editing were not used to this degree previously, and marks the Battleship Potemkin and Sergei Einstein as an Important part of film history, and his techniques have been used repeatedly since his film by countless films and film makers.
Dziga Vertov
Vertov was another Soviet filmmaker whos works pushed the boundaries and preconceptions that many other filmmakers at the time had. His most famous work was the 1929 film, Man with a Movie Camera. the experimental documentary showed the daily life of what a film director does, and featured many experimental techniques, with a focus on how shots were framed rather than a concrete story. Dziga Vertov also coined the term Kino eye (film eye). He believed that the world is seen more clearly through the eye of the camera then the human eye. His works included many more advanced techniques compared to other works of the time, including Jump cuts, superimpositions, split screen, motion camera and camera angles.
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