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SOVIET MONTAGE

Group 4 report in Cinema
by

Grace Blazo

on 14 August 2013

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Transcript of SOVIET MONTAGE

SOVIET MONTAGE
ALL ABOUT SOVIET MONTAGE?

Film Makers of Soviet Montage
One main characteristic of Soviet Montage films is the downplaying of individual characters in the center of attention.
Characteristics of Soviet Montage
Montage editing is emphasizes dynamic and discontinuous relationship in between two different shot. This editing style was developed by the Soviet filmmaker of the 1920s such as Pudovkin, Vertov and Eisenstein.
In montage editing, juxtaposition is apply in the film to present the compress narrative film.Juxtaposition is refers to two different shots that have been joined together to make a contrast.
2. Individual heroes are replaced by a mass of people.

In soviet montage, director will using non-actors to play key part. Eisenstein explained the reason why he preferred to use non-actors is because
"A 30 year old actor may be called upon to play an old man of 60.
By Alibangbang, Demie
Asignado, Arianne
Blazo, Mary Grace
Capiral, Ma. Catherine
Coroza, Miko

Kuleshov's experiments were showing how important editing is and he developed the central idea to the Montage theory and style.
Montage
In 1920,
Lev Kuleshov
joined the State Film School and formed workshops.
Vladimir Lenin
was the leader of the revolution and the Union of Soviet Socialist Republics was created.
He led the Bolshevik Revolution.
Lenin saw cinema as the most important art, most probably because it is an effective medium for propaganda and education.
THE HISTORY OF SOVIET MONTAGE
The Soviet Montage movement began in 1924/25 and ended at 1930. In 1917 there have been two revolutions in Russia.

The February Revolution eliminated the Tsar's government. The second revolution took place in October.
- is a
technique in film editing
in which a series of short shots are edited into a sequence to condense space, time, and information. It was introduced to cinema primarily by
Eisenstein.



In France the word "montage" simply denotes
cutting
.
MAIN CHARACTERISTICS OF SOVIET MONTAGE
The central aspect of Soviet Montage style was the area of editing.
Overlapping editing
means, that the second shot repeats part or all of the action from the previous shot.
Through repetitions of this method the time an action takes on the screen expands.

Cuts should stimulate the spectator.
In opposition to continuity editing, Montage cutting often created either overlapping or elliptical temporal relations.
OVERLAPPING EDITING
JUMP CUTTING
A jump cut is where two successive shots contain an overt break in spatial or temporal continuity.
and their contributions
For Kuleshov, the essence of the cinema was editing, the juxtaposition of one shot with another. To illustrate this principle, he created what has come to be known as the Kuleshov Experiment.


Lev Kuleshov
The implication is that viewers brought their own emotional reactions to this sequence of images, and then moreover attributed those reactions to the actor, investing his impassive face with their own feelings.
Vsevelod Pudovkin was one of the most influential montage theorists and filmmakers in Russia at this time.

Vsevolod Pudovkin
In the 1920s when the Soviet government was finally able to purchase some film equipment and film stock, he began to create some very interesting and provocative films using his theories about montage.

His theory of montage could be called
“linkage montage.”
Simply put, Pudovkin often cut between two images to suggest a symbolic link or connection between them. By seeing these two images side by side, the filmmaker encourages you to figure out that there is a psychological relationship between the two shots. The two shots combine together to create a new idea.
Pudovkin believed that film actors don’t really act. Rather, it’s the context the actors are in that creates emotional and intellectual meaning.
Sergei Eisenstein
was a pioneering Soviet Russian film director and film theorist, considered to be th
e
"Father of Montage".
He is noted in particular for his silent films Strike (1924), Battleship Potemkin (1925) and October
Unlike Pudovkin, he felt that transitions between shots should not be smooth. Rather, he thought they should be sharp, jolting, and even violent because conflict is universal to all great art. He was interested in creating a cinema of conflict.
Kinds of montage
(a) Metric montage-- In metric montage , the shots are joined together according to their absolute lengths of the pieces, in a formula-scheme corresponding to a measure of music
(c) Rhythm montage -
It is determining the lengths of the pieces, the content within the frame is a factor possessing equal rights to consideration.
1. Montage editing
Therefore, selected a non-actor to play a role is the correct physical type for the part.
3. Heavily on the uses the close-up angle
This is because Eisenstein believe that juxtaposition shots with high visual contrast may create conflict to audience.
ELLIPTICAL CUTTING
Elliptical cutting is a film technique in which a portion of an event is left out, so that the event takes less time to occur on screen than it would in reality.

(b) Intellectual montage-- The intellectual montage will be that which resolves the conflict-juxtaposition of the physiological and intellectual overtones. By using intellectual montage which puts ideas together (A + B = C)
Abstract determination of the piece-lengths gives way to a flexible relationship of the actual lengths. It is movement within the frame that impels the montage movement from frame to frame.
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