Still provided by British Film Institute. The use of close-ups with shorter shots creates a more intense sequence (Figures 1.15 and 1.16). This increases the tension resulting from the scene. Regardless of their content, shortening the shots abbreviates the time the audience has to absorb the information in each shot. Metric montage refers to the length of the shots relative to one another. The clearest exposition of his theory has been presented by Andrew Tudor in his book Theories on Film.13 METRIC MONTAGE His theory of editing has five components: metric montage, rhythmic montage, tonal montage, overtonal montage, and intellectual montage. Strikes, the 1905 revolution, and the 1917 revolution were Eisenstein's earliest subjects.Įisenstein achieved so much in the field of editing that it would be most useful to present his theory first and then look at how he put theory into practice. The principle of the dialectic was particularly suitable for subjects related to prerevolu-tionary and revolutionary issues and events. Beginning with Strike (1924), Eisenstein attempted to theorize about film editing as a clash of images and ideas. With a background in theatre and design, Eisenstein attempted to translate the lessons of Griffith and the lessons of Karl Marx into a singular audience experience. Still provided by Museum of Modern Art/Film Stills Archives. In the early 1920s, however, he was a young, committed filmmaker. He also wrote extensively about film ideas and eventually taught a generation of Russian directors. As a director, he was perhaps the greatest. Eisenstein was the second of the key Russian filmmakers.
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