Theory Of Montage In Pudovkin’s, Eisenstein’s And Vertov’s Movie.

1216 words - 5 pages

Introduction
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).

The School of montage
Most of the films that they were created in the Soviet Union, outside the school of montage, use topics of sitcoms and to a various literary adaptations. Conversely directors from school of montage decided on a topic related to the uprising, or other historically revolutionary movement. This was mainly the one that these topics offered filmmakers show any conflict, or also because they tried to point out the Communist ideology. Especially Sergei Eisenstein and Vsevolod Pudovkin used this style, in the films that remind the twentieth anniversary of the failed revolution of 1905.

Montage is from the beginning of the twenties characterized as a process of synthesis, building something new and in terms of the physical planes also something quite simple. Most montage’s films were created as a dialectical process, where initially from a two meanings of consecutive shots form a third meaning.

Movies of Soviet school are also movies of mass heroes. Characters act and react, but they are not expressions of individuals, but rather of a certain social class. One person can represent the whole class. Eisenstein, for example, in the film The Battleship Potemkin completely eliminated leading figures of the revolution and his hero became mass.

All revolutionary directors of the school of montage were convinced that the story, whether there is any, it may strongly affect the viewer when they manage to create the maximum dynamic tension. Therefore, their processes are so different from the typical style of Hollywood blockbusters. These creators put shots next to each other so that the dominant features met and became jointly with emphasis on the dynamics of cut characteristic of movies the school of montage.

Montage of Sergei Eisenstein in The Battleship Potemkin

Eisenstein understands a film as a dialectical process and that his process and its effectiveness he demonstrates in Potemkin. The sequence of the staircase is one the most of best example of montage processes that he used. Using contrasting shots used drama and significance, as none of his associates.

Eisenstein creates stresses through the meeting of two emotive images that result in qualitative turnover action. Bloody encounter protesters and the Cossacks on the stairs, individual looks at the dismay of people rather than pity evoke anger against social injustice.
The Battelship Potemkin a folk film, because its hero is a mass...

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