Noted directors įilm critic Ezra Goodman discusses the contributions of Slavko Vorkapić, who worked at MGM and was the best-known montage specialist of the 1930s: "Scroll montage" is usually used in online audio-visual works in which sound and the moving image are separated and can exist autonomously: audio in these works is usually streamed on internet radio and video is posted on a separate site. It plays with Italian theatre director Eugenio Barba's "space river" montage in which the spectators' attention is said to " on a tide of actions which their gaze fully encompass". "Scroll montage" is a form of multiple-screen montage developed specifically for the moving image in an internet browser. In a typical railroad montage, the shots include engines racing toward the camera, giant engine wheels moving across the screen, and long trains racing past the camera as destination signs fill the screen. In the first, as in Citizen Kane, there are multiple shots of newspapers being printed (multiple layered shots of papers moving between rollers, papers coming off the end of the press, a pressman looking at a paper) and headlines zooming on to the screen telling whatever needs to be told. Two common montage devices used are newsreels and railroads. Its use survives to this day in the specially created "montage sequences" inserted into Hollywood films to suggest, in a blur of double exposures, the rise to fame of an opera singer or, in brief model shots, the destruction of an airplane, a city or a planet. The word "montage" came to identify.specifically the rapid, shock cutting that Eisenstein employed in his films.
#ASSOCIATIONAL MONTAGE DEFINITION SERIES#
Hollywood montage, romantic in the extreme, is written off as a series of wipes, dissolves, flip-flops and superimpostions.” -Film historian Richard Koszarski in Hollywood Directors: 1914-1940 (1976) Eisenstein is seen as intellectual, objectively analytical, and perhaps overly academic. The Soviet tradition, primarily distinguished by the writing and film work by S. "Film historians differentiate two parallel schools of montage, that of the Soviets and that of Hollywood. Montages enable filmmakers to communicate a large amount of information to an audience over a shorter span of time by juxtaposing different shots, compressing time through editing, or intertwining multiple storylines of a narrative.įrom the 1930s to the 1950s, montage sequences often combined numerous short shots with special optical effects ( fades/dissolves, split screens, double and triple exposures), dance, and music. A montage can be described as a series of separate images, moving or still, that are edited together to create a continuous sequence. It is a film technique for putting together a series of short shots that create a composite picture. Ī montage is a French term meaning "assembling shots" or "putting together". Later, the term "montage sequence", used primarily by British and American studios, became the common technique to suggest the passage of time. In Soviet montage theory, as originally introduced outside the USSR by Sergei Eisenstein, it was used to create symbolism. In French, the word montage applied to cinema simply denotes editing. The term has been used in various contexts. Montage ( / m ɒ n ˈ t ɑː ʒ/ mon- TAHZH) is a film editing technique in which a series of short shots are sequenced to condense space, time, and information. For other uses of the word montage, see Montage. For the use of montage in the 1920s Soviet Union, see Soviet montage theory. For the South Korean film, see Montage (2013 film). Intellectual montage juxtaposes images to elicit cerebral responses rather than emotional ones."Montage (film)" redirects here. Overtonal montage utilizes metric, rhythmic and tonal montage simultaneously to a greater effect, conveying more abstract ideas. Tonal montage uses the emotional content of shots to create meaning. Rhythmic montage cuts shots based on visual continuity. Metric montage cuts shots to a defined number of frames, regardless of what is happening in the image.
Soviet montage includes many different methods of creative editing to elicit different responses. Though this theory was explored by many Soviet filmmakers, the most widely accepted is Sergei Eisenstein’s view that “montage is an idea that arises from the collision of independent shots” wherein “ each sequential element is perceived not next to the other, but on top of the other.” Soviet montage refers to an approach to film editing developed during the 1920s that focused, not on making cuts invisible, but on creating meaningful associations within the combinations of shots.
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