Montage theory: Eisenstein, Vertov, & Hitchcock
1: Eisenstein & montage
2: Vertov & montage
3. Hitchcock & montage
the Kuleshov effect
Montage--juxtaposing images by editing--is unique to film (and now video). During the 1920s, the pioneering Russian film directors and theorists Sergei Eisenstein and Dziga Vertov demonstrated the technical, aesthetic, and ideological potentials of montage. The 'new media' theorist Lev Manovich has pointed out how much these experiments of the 1920s underlie the aesthetics of contemporary video.
|The rapid progression and alternation of images gives a sensational event even greater visceral impact:
|The famous sequence involving a runaway baby carriage shows Eisenstein using montage to arouse both emotion and ideological consciousness among the film's viewers:
|At the conclusion of the Odessa Steps sequence, two sequences of images illustrate the notion of the 'tertium quid' as well as the ideological potential of montage. In the first sequence below, the rapid montage of the three cherubs makes the small angel seem to be throwing a punch. In the second sequence, three shots of stone lions, shown rapidly in succession, indicate awakening militancy. In Potemkin, both montages represent a call to the people to rise up against oppression.
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