"The film has a collective hero; the Russian masses—the mutineers on the Potemkin, the people of Odessa, the sailors who mutiny on the other ships—who rebel against Tsarist oppression.
Despite the film's documentary look, it was very carefully constructed on every level, from the distribution of line, mass, and light in individual shots to the perfectly balanced five-act structure of the overall film. The most remarkable feature of the film's construction, however, is the montage editing.
Eisenstein's theory of montage—based on the Marxist dialectic, which involves the collision of thesis and antithesis to produce a synthesis incorporating features of both—deals with the juxtaposition of shots, and attractions (e.g. lighting, camera angle, or subject movement) within shots, to create meaning. Rather than the smooth linkage of shots favored by many of his contemporaries (e.g. V. I. Pudovkin and D. W. Griffith). Eisenstein was interested in the collision and dialectical synthesis of contradictory shots as a way to shock and agitate the audience."
Think about the above quote (from the essay by Clyde Kelly Dunagan in the handout I gave you). In 2 paragraphs, discuss (CINEMATICALLY) if and how Eisenstein's theory works. Be sure to use the cinematic vocabulary you have learned. If you need to, use your glossary in Looking at Movies.
In paragraph 3, discuss a film you have seen that uses discontinuity editing or at the very least seems influenced by Eisenstein's method. Discuss the film CINEMATICALLY as you would discuss a film we watch in class.
Here is a link to the film: https://www.youtube.com/watch?v=7TgWoSHUn8c
Eisenstein’s theory of montage is based on how shots can be composed in order to draw attention to the discontinuous and erratic structure and also create a sense of agitation in the audience. Eisenstein did this through the utilization of his montage theory and the Marxist dialectic-- “the collision of thesis and antithesis to produce a synthesis” (Dunagan). By joining one original shot or thesis with another opposing shot, Eisenstein could create a new meaning entirely. He then joined this new thesis with another and repeated the process, thus moving the film forward. This supposedly chaotic juxtaposition of shots contrasts greatly with the logical and continuous editing many are used to, causing viewers to feel agitated and tense, and further supporting the emotions being conveyed through the screen. Eisenstein’s intentions when combining contradicting shots in this confusing manner was not to make the editing seamless and invisible, but to draw attention to its discontinuity. His theory was based on the belief that choppy and juxtaposing shots would have a greater impact on the film and the audience more than continuity editing would. There was an emphasis on the emotions of the characters and the viewer over maintaining a logical order of the events. This technique along with additional film elements such as camera angle and mise-en-scene contributes to the meaning of the film as a whole. Although Eisenstein’s theory of montage might not produce a logical and more accurate depiction of a sequence, it is still largely effective when one desires to provoke feelings of agitation in a chaotic manner of shot structure.
ReplyDeleteNumerous examples of Eisenstein’s montage theory in effective use can be seen in his films, especially in Battleship Potemkin (1925). The famous Odessa step sequence is characterized by chaotic repetitive shots which emphasis the emotional significance of the scene over logical editing. It also adds drama and tension to the scene as well as further highlights the helplessness the people feel during this ordeal. Eisenstein utilizes discontinuity editing throughout this scene to emphasize the feelings of disarray and disorder the people feel. For example, when the young boy falls under the stampede and his mother doesn’t notice at first-- many shots make up this sequence, repeated and quickly cut to produce feelings of chaos and worry for the boy. The shots repeat themselves several times to add drama and tension; we see the mother continue to run as she doesn’t notice her son has fallen, then we see her reaction several times as it cuts back and forth between mother and son. All while this is happening, Eisenstein places shots of the people fleeing down the stairs throughout the sequence, in a somewhat random fashion. These shots convey the panic taking place all around even as specific characters are focused on. Eisenstein also utilizes the Kuleshov effect in several places-- he cuts together shots of terrified screaming faces with various other shots; a dead body, someone falling under the stampede, etc. Although Eisenstein never makes it clear what exactly the specific people are looking at, it can be assumed that the overall massacre taking place is causing the terrified reactions. Furthermore, the 180 degree rule is also broken intentionally multiple times throughout this sequence, creating a jostled, disorderly, and confusing feeling. The camera moves to multiple perspectives to show the massacre from all sides, further signifying the pandemonium taking place. Overall, Eisenstein uses his theory of montage successfully in Battleship Potempkin, effectively emphasizing the tension and panic of the Odessa step sequence.
Another film that utilizes discontinuity editing is Run Lola Run (1998). A primary example of this is the scene in which Lola is arguing with Manni on the phone about finding a solution. This scene is characterized by numerous jump-cuts and swiftly changing camera positions. This causes the viewer to feel disoriented and overwhelmed by the situation at hand. The discontinuity editing contributes to the rapid and jerky pace of the scene while also emphasizing the chaos and tension of the scene. The quick pace, repeating shots, and overall chaotic tone support the idea that the editing of this film was influenced by Eisenstein’s theory of montage
DeleteEbert, Roger. “The Battleship Potemkin Movie Review (1925) | Roger Ebert.” RogerEbert.com, Brian Grazer, 19 July 1998, www.rogerebert.com/reviews/great-movie-the-battleship-potemkin-1925.
Hess, John P. “Sergei Eisenstein and the Theory of Montage ⋆ FilmmakerIQ.com.” FilmmakerIQ.com, filmmakeriq.com/lessons/sergei-eisenstein-theory-montage/.
McVey, Michael, and Skiffleboom. “Montage and Juxtaposition in ‘Battleship Potemkin’ – Odessa Steps Sequence, from Michael McVey, Skiffleboom.com.” Michael McVey, Skiffleboom, 27 May 2011, skiffleboom.wordpress.com/2010/05/06/montage-and-juxtaposition-in-“battleship-potemkin”-–-odessa-steps sequence from michael mcvey-skiffleboom-com/.
Eisenstein’s theory, otherwise known as the ‘Soviet montage theory’, discusses the importance of editing in a film. For the “Battleship Potemkin”, the concept of intentional discontinuity in a film is explored. As opposed to maintaining a solid flow, the scenes are cut or certain actions are repeated in order to add emphasis or to leave the viewer jarred.
ReplyDeleteOne of the most notable scenes in the film with this technique is the one in which a massacre takes place on the Odessa Steps. There is a moment in which a baby carriage tips over the edge of a stair and proceeds to roll down the stairs. There are multiple shots of the carriage teetering, with the reactions of bystanders scattered between. When the carriage eventually falls, it is shown coming off of the platform twice, from different angles. Repetition allows the action to capture the audience’s attention and add significance to the scene.
Another film in which discontinuity is used is Francis Ford Coppola’s “Apocalypse Now” (1979). The Colonel is hunted down by Captain Willard, and in the scene where the Colonel is caught, discontinuity is used to emphasize the brutality of his death. As Captain Willard is killing the Colonel, shots of a buffalo being slashed are scattered throughout the scene. As a whole, the scene is dimly lit and the cuts between shots are quick, disorienting the viewer since it is difficult to tell what is happening at certain moments.
-Taggart