Eisenstein & Montage

Eisenstein & Montage

Introduction

This paper intends to discuss Eisenstein's theory and practice of montage, making specific references to the Battleship Potemkin. The Soviet Montage Theory is basically a criteria defined to understand the creation of cinema which essentially relies over heavy editing. A range of soviet filmmakers in 1920s tend to disagree with the concepts of montage. However, Sergei Eisenstein was always related to the different dialectic approaches that the media of film has to offer. This particular paper will revolve around making the judgments about the difference between theory and practice related to the montage. The Battleship Potemkin remains one of the main instances in this regard. The purpose of this paper is to make the readers aware about the significance of Eisenstein's theory and practice of montage.

Discussion

Eisenstein's Theory of Montage

Montage is basically important to determine the nature of montage. The montage is extremely important to determine various and specific problems of cinema. The theory of montage is essentially related to the styles of editing. In definite terms, the montage style of graphics remains extremely important for the purpose of gauging the graphic qualities. There are different rules which are made for the graphic qualities. However, the violations of thorough 180 degree rule seems to develop spatial matches which are significantly abrupt and difficult to imagine (Eisenstein, 1967).

However, the concept of montage does not seem to be concerned with the revelation of differential spatial spaces. The temporal continuity which is to be found within the classical Hollywood movies is comprehensive enough to explain the concepts of montage. The different ellipses usually change within the creation of montage that reflects various obvious and seamless images. The theory of Eisenstein revolves around five different methods of montage. Eisenstein has provided his initial views about the montage in his claims of 'word and image.'

Eisenstein has also described various different forms of montage like the 'higher'; 'simpler' and 'lower' montage. The most important aspect about the varieties of montage is that all the varieties are built upon each other. This basically means that one type of montage possesses all the characteristics of the montage coming beyond that. The higher variety of montage essentially possesses the characteristics of the simple variety of the montage (Bascomb, 2008).

Also, an important aspect of the different types of montage is that the lower types of montage only possess the capability to understand the meaning of the complex arrangements which can continue to communicate. When the complexity of montage tends to increase; the capability of other montages also simultaneously changes. The underlying emotions that undergo the ideals require different levels of communication. The lowest levels of montages tens to have the simplest meanings and therefore; the people can understand and relate to the meanings of these montages easily.

The different spectrums make it easy for the viewers to understand the underlying meanings of montages. The different image contents seem to be appropriate to discuss the different choices and combinations of montages to be used in the edited and ...