Film form essays in film theory

eisenstein beyond the shot pdf

This is true for every art-form, and, indeed, for every kind of expression. A completely false concept! As well as a syntax of film manifestations, in which visual counterpoint may determine a whole new system of forms of manifestation… For all this, the basic premise is: The shot is by no means an element o f montage.

Dickens griffith and the film today

The different pieces are "synonymous"—containing a single mowing movement from one side of the frame to the other; and I laughed when I saw the more impressionable members of the audience quietly rocking from side to side at an increasing rate of speed as the pieces were accelerated by shortening. The concept of a formally static phenomenon as a dynamic function is dialectically imaged in the wise words of Goethe: Die Baukunst ist eine ertarrte Musik. This is a conflict of motives, which can also be comprehended in three phases: 1. This is a case of "light tonality. The musician uses a scale of sounds; the painter, a scale of tones; the writer, a row of sounds and words- and these are all taken to an equal degree from nature. How easily three shades of meaning can be distinguished in language—for example: " a window without light," "a dark window," and "an unlit window. It expresses a stage beyond rhythmic montage. For example, the mowing contest in Old a n d N ew is cut in this way. A completely false concept! It may almost be said that in every case we have cited we have seen in operation the same Principle of Comparison that makes possible for us perception and definition in every field. Placed next to each other, two photographed immobile images result in the appearance of movement. Not only in the sense of a space-time continuum, but also in the field of absolute thinking. From the domain of the spatial-pictorial—to the domain of the temporal-pictorial—where the same law rules.

From the superimposition of two elements of the same dimension always arises a new, higher dimension. And, like rhythmic montage, this is also a special variation of metric montage. It may almost be said that in every case we have cited we have seen in operation the same Principle of Comparison that makes possible for us perception and definition in every field.

We can list, as examples of types of conflicts within the form-characteristic for the conflict within the shot, as well as for the conflict between colliding shots, or, montage: 1.

Building a completely new form of cinematography—the realization of revolution in the general history of culture; building a synthesis of science, art, and class militancy In my opinion, the question of the overtone is of vast significance for our film future.

The film sense

Eisenstein's project was doomed to failure in its conception. To argue about the pictorialism of the film-shot is naive. According to its nature because: Its nature is a conflict between natural existence and creative tendency. These reproductions, or photo-reflections, may be combined in various ways. The first, metric category is characterized by a rude motive force. At the intersection of Nature and Industry stands Art. Eisenstein took his role as ideological mouthpiece for the communist party very seriously - and it is interesting, in a world so skeptical of political art, to see someone write so directly about the political aims of his art. Building a completely new form of cinematography—the realization of revolution in the general history of culture; building a synthesis of science, art, and class militancy In my opinion, the question of the overtone is of vast significance for our film future. The phases of its tension: rhythm.

His class-determined tendency is the basis of what seems to be an arbitrary cinematographic relation to the object placed, or found, before the camera. It is quite possible here to find cases of complete metric identity of the pieces and their rhythmic measures, obtained through a combination of the pieces according to their content.

the film sense

This is, by the way, the reason for the phenomenon of spatial depth, in the optical superimposition of two planes in stereoscopy.

A third use of metric montage lies between its two extremes of simplicity and complexity: alternating two varying piece-lengths according to two kinds of content within the pieces… 2.

Moreover, this example furnishes a demonstration of consonance in combining movement as change and movement as light-vibration… 4.

Film form essays in film theory

Conflict between matter and its spatial nature achieved by optical distortion by the lens. Here movement, already ceasing to be simple change in the second case, passes over distinctly into an emotive vibration of a still higher order. If it is, then what complicated context will be needed in order to string the film-pieces onto the film- thread so that the black shape on the wall will begin to show either as a "dark" or as an "unlit" window? How easily three shades of meaning can be distinguished in language—for example: " a window without light," "a dark window," and "an unlit window. Realization is in the repetition of these "measures. Metric Montage The fundamental criterion for this construction is the absolute lengths of the pieces. Not by impression as perceived, but by measurement. We know that the phenomenon of movement in film resides in the fact that two motionless images of a moving body, following one another, blend into an appearance of motion by showing them sequentially at a required speed. The frame is much less independently workable than the word or the sound.

A zigzag of expression arising from the spatial division caused by man moving in space. This is typical of persons possessing a decent esthetic culture that has never been logically applied to films…The veriest novice in films would not think of analyzing the film-shot from an identical point of view with landscape painting.

Rated 10/10 based on 22 review
Download
File:Eisenstein Sergei Film Form Essays in Film Theory pdf