"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.
Due: Friday, 11/7
I believe Eisenstein's theory of montage-the collision of different juxtaposing shots with opposing angles, lighting, and movement, put together with rough, choppy transitions to disorient its viewer-is effective in creating a deeper meaning. By pairing different angled shots like an arial-view shot, dutch-angle shot, and an eye-level shot together, with two completely different subjects, the two individual shots which would have otherwise been meaningless, are brought together to create a new blend with a new meaning, often with negative connotation. The sequence elicits a new inherent unity of theme and purpose through their linkage and like transitions.
ReplyDeleteThis different form of editing of Eisenstien's is also successful in drawing out reactions from its viewers, usually disorientation and shocked, as the way the shots are aligned and their length. The camera man can choose to break the 180-degree system, breaking the minds mental train of thought and comprehension or the editor may move on to the next shot before the observer has reached the content curve's peak, before they have fully absorbed the information. The transitions between these different images is not the usual fade-in/fade out, iris in/out, or match cut. Rather than ease from shot to shot, these alternative choppy, rough edged transitions create discontinuity between the juxtaposing shots which therefore throws off the viewer.
A perfect example of why Einsteins methods were on point is Battleship Potemkin on the steps of Odessa when the russian soldiers start attacking civilians who quickly turn from cheerful observers of the happiness about the ship to victims. The editors montage contributes to the verisimilitude of the scene because as the situation turns hectic, violent, and chaotic, we experience a form of agitation and anxiety as the transitions move at a fast paced just like all of the people on the screen. We feel the rush they are in to get out of harms way, the fear they have brought on by the disorienting adrenaline rushing through them, driving them to find somewhere safe.
I think that Eisenstein’s theory of montage, which involves the collision of thesis and antithesis to produce a synthesis incorporating features of both, dealing with the juxtaposition of shots, and attractions within shots to create meaning really does work. If the cameramen start to play around with the lighting and different shots at different times, then the can create a sense of chaos in the film. Eisenstein’s theory can be used to show that there’s more going on in the film than you can see. When the Russians invaded the civilians, the audience was able to see different events at different times from different points of view.
ReplyDeleteEisenstein’s theory of montage can also change the feeling or the mood of the audience. In the Odessa Steps scene, everyone is cheering and they’re all happy until the soldiers arrive. Before it even shows the soldiers marching in with their guns, everyone starts running and collapsing on the steps. This scene quickly changes the mood of the audience from happy to sad. The use of Eisenstein’s montage shows people running down stairs, then quickly changes to people falling over, and then again changes to show the soldiers all lined up firing their weapons. In the scene with the baby carriage, when the mother first gets killed and lets go of the baby carriage, the carriage is being filmed from a high angle, but Eisenstein constantly changes the angle in which the baby is being seen, he shows the carriage going down the stairs from different peoples point of view, but after showing one man’s point of view he quickly gets sliced by a sword three times in the same shot.
Another film that i’ve seen that uses discontinuity editing is Run Lola Run. In the scene where Lola runs by her mother and the television is on displaying a cartoon of herself running down stairs, the feeling could only be achieved through Lola’s innovative and experimental editing. Lola’s fictional nature is successful in encouraging viewers to reflect on their own lives as if they were in movies of their own. Also, the fact that there was so much going on while she was running all over the place makes the audience feel the rush Lola is feeling and creates a sense of chaos, and the same thing goes for when Lola would run by someone and then a short montage of future films were presented on the screen in rapid succession.
Eisenstien’s theory of montage works when two contrasting pictures are put together to create meaning that each picture separately could not create. The change in the frame indicates to the viewer that the previous shot relates to the current shot even though they do not include the same basic cinematic elements. The montage theory allows the filmmaker to allow the plot to progress faster in two shots of what could either be impossible or take up many more shots in a film. Seeing the two images separately could create little or no meaning to the viewer’s perception of the story.
ReplyDeleteFor example one shot could be of a girl with no expression (emotionally blank) and another of a grave. The theory works as the viewer would usually perceive the woman as sad. Even though the girl had no expression the viewer’s mind combines the two images to affect their perception on the events of the movie. If the grave is switched with a birthday cake, then the girl would be seen as joyful. An analogy for the theory is that the discontinuity allows one shot to be a blank canvas for the viewer’s mind and the next of the 2 shots paints the picture that gives meaning to the first, just like a canvas can be meaningless without a painting and paint is just paint without a canvas.
The Godfather is a film that uses discontinuity editing. In the famous baptism scene, shots of a baptism are cut between shots of the heads of the major crime families being killed. When the murders begin to happen they are intercut with shots of Michael Corleone repenting Satan and his evils which creates juxtaposition between the two shots. Days of Heaven also used a lot of discontinuity editing to create meaning out of its shots. Most of Terence Malick’s use discontinuity editing to create meaning and this has become a regular pattern in his films. Malick s more focused on the mise-en-scene than the story but is able to create the story through his visuals.
Einstein’s theory of montage is an effective way of portraying the juxtaposition of the same action in different shots. Ways that this was done was through having the same action through many different camera angles often including a Dutch angle, long shots, crane shots, low angles, high angles, and close-ups. This way of having the shots in a scene repeated is influential in the understanding of the film as a whole.
ReplyDeleteThe reason of it being important is because the discontinuity draws us to seeing the several different forms in which a scene is shown. In the scene where the commander on the ship is trying to escape from the ship crew, his movements of walking up the stairs were shown in three different shots. These shots included a close-up, a long shot, and a Dutch angle. Another way discontinuity is portrayed is in the transitions. There are never any fade-ins/outs, and the shots transition through a quick cut, limiting our expectations and keeping us confused on what’s going to happen. Also, the climactic stairs scene showed the most discontinuity while one second everyone is showing happiness, and then quickly transfers to disruption and corruption.
A movie in which discontinuity was shown is in Run Lola Run. The way this was portrayed was when running down the street. It would quickly transition to another spot in the city. For instance, when Lola was running down a street, the next shot would be of her in a completely different area like in front of her dad’s work. Another way it was used was in how Lola was running and then it would quickly cut to Manni, without the use of a fade in. Sometimes as well, Lola would run around a corner, and you would see her running around the corner in a second angle. You could clearly see the discontinuity used. This way of using discontinuity created chaos in the dwindling time that Lola had to reach Manni.
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ReplyDeleteEisenstien’s theory of montage is effective when the juxtaposition of shots and attractions are put together to create meaning. By themselves, these shot would not make sense, but that is why Einstein’s montage theory works. Jump cutting from one shot to another connects the current shot to the previous even when they don’t include the same attractions. Einstein’s theory of montage works great with jump cuts because it can speed up a plot and/or even disorientate the viewer and make the viewer feel the pandemonium taking place or feel closer to a character or the situation at hand.
ReplyDeleteThe Odessa steps scene uses Einstein’s theory of montage to transition from happy to sad and chaotic with its discontinuity editing. Its quick cut from cheering to running and the people falling over already brings us into the chaos at hand without even showing what caused it yet. Einstein’s theory is very effective here.
Run Lola Run was had a good amount of discontinuity editing with its use of jump cuts. For example the scene where Lola screams at her father and then the editor cuts to the breaking of the glass. This jump cut adds emotional aspects to the scene especially since this scene was less fast pace and this jump cut was out of place for this scene. It brings us closer to the character of Lola and the breaking of the glass in connection to the previous shot of her screaming helps us feel the frustration and added on pressure she is feeling at that moment. This only being on out of the many jump cuts in Run Lola Run seem to support Einstein’s theory of montage editing.
Eisenstein’s theory of montage incorporates juxtaposition of shots, lighting, camera angle, and subject movement to provide a sense of meaning from otherwise meaningless elements. The choppy, disjointed transitions between shots join the subjects on either side of the cut and relate the two of them. While many would favor a smooth transition in such a situation, those used in Battleship Potemkin serve their own purpose.
ReplyDeleteA relatively simple example from the aforementioned film presents itself early on. Shots of the ceiling-mounted tables being lowered by sailors are intercut between shots of a pot of soup being stirred. Alone, one is tables, one is soup. Together, both mean the sailor are preparing for a meal of soup. After the meal, a sailor washing dishes discovers one engraved with the words “Give us this day our daily bread”. The camera alternates between high-angle shots of the plate, the words slowly turned by the sailor’s hands, and low-angle close-ups of the sailor’s frowning face. Again, the individual shots contain little to no meaning. But put them in context with each other, and we immediately recognize the man’s growing disdain for his officer’s tyranny. The tyranny again strikes in a longer sequence. The captain, having classified those who are loyal to the ship and those who are dissatisfied, orders the latter to be hanged. The sequence begins with the captain raising his arm. A dialogue card reading, “I’ll string the rest of you up on the yard!” An eye-level medium shot of the captain points upward. A low-angle shot of the yard. A close-up of a petty officer, having escaped the fate of the others, smiling to himself. Several sailors turn their heads, looking upwards. A low-angle shot of the yard, hanging bodies slowly fading in. A close-up of an aghast sailor. Two smiling officers look to the yard. The bodies are gone. The officers nod to each other. The series of shots presented here cooperate to form a grave picture for the sailors of the Potemkin.
Another movie using a similar style of montage is Hitchcock’s Pyscho. The prominent “shower scene” in which Marion is murdered also roughly transitions between shots. Of the 52 shots it is composed of, a mere five actually show the murderer and Marion together. So, beyond that, how do we even know she’s been stabbed? An alternation occurs between Bates drawing back his knife and then thrusting it forward and Marion jolting back and screaming. Hitchcock just as easily could have showed them in the same shot, but it simply wasn’t necessary. The link between the two figures is blatant.
Einstein's theory of montage juxtaposes shots together in order to yield a meaning not present in either of the shots. By contrasting to ideas, the spectator infers the meaning behind it all. Miraculously, the human mind associates a DISassociation to an alternate meaning. Although some may favor more continuity in Battleship Potemkin, the Marxist theory creates more depth for the film, as well as more room for interpretation.
ReplyDeleteAn example of the preceding, the scene in Battleship Potemkin, where a stone angel seems to be throwing a punch, which then switches to a sequence of shots of stone lions, one after the other, very quickly, thus to represent livening militancy. Thus, this entire sequence is used as a beckoning for the people to resist opression. By eliciting meanings, and allowing the audience to draw conclusions themselves, verisimilitude is more easily acheived. In the Odessa steps sequence, the reactions and emotions of those are humanly identifiable, and thus cultural invisibility to the human condition allows the film to be more identifiable, understandable, and thus, more enjoyable.
In a recent project, I created a storyboard from the famous shower scene in Hitchcock's, "Psycho," discontinuity editing yields the franticness of the scene. Without it, the discombobulation being experienced in the events would not have shone through as prevalently. A string of shots of different items, be it a low angle shot of the showerhead, a high angle shot of Marion getting stabbed by "Mrs. Bates," or an eye level shot of the attacker, allows for suspense, and that same panic that wells within Marion, to well within the audience, allowing the audience to better identifiy with the movie. This sequence of shots that are discontinuous allow us to infer our own drama from the scene.
On how einstein’s theory works is that Filmmakers tend to use Discontinuity editing to explain the narrative of the film instead of using the standard continuity editing that many other filmmakers have used in the past and even in today’s movies. And also the juxtaposition of the shots in the movie and the way the lighting and the camera angle are implemented in the movie matters a lot more than the linear and restricted narrative that most movies are constructed. Einstein's theory works is because on how it’s well presented on the way its narrative is presented through discontinuity editing, on how the movie’s Mise-En-Scene is shown through the movie, and even on how the kinesis form the actors and everyday objects such as statues and ships are presented well by this theory.
ReplyDeleteAnother way on Einstein's theory works is on how the way it presents to its audience. This is sown when it tends to bring shock factor into the audience, and to also to bring sudden surprises and to startle audiences. Einstein's theory also changes the way shots are put into the movie. The shots that are put in the movie tend to be a lot more repetitive in a lot more scenes than movies that don’t use this theory. A lot of these repetitive scenes are put into the movie however to create a lot more understanding to the narrative and to create a deeper meaning in the story instead of using the type of linear narrative that most movies use.
One film that presents Einstein’s theory really well is Run Lola Run. This film is inspired by Einstein's theory is when even though in some scene in the movie uses discontinuity editing, it still played a part in telling the narrative in the movie while still retaining continuity editing in most scene in the movie. This film is also inspired by this theory is when on how the kinesis is presented throughout the movie and on how Mise-En-Scene is show in the film.
Zach Jabine
ReplyDeleteEisenstein’s montage theory/technique – when used in Battleship Potemkin – works extremely well. He manages to deftly combine shots together that we as an audience would find unremarkable when separated, and creates something meaningful when putting them together. This juxtaposition and created meaning allows Eisenstein to create visceral, powerful emotions within the viewer, and to fully exploit the benefits of using montage editing.
When viewing the film, it is immediately apparent that this is a film composed almost completely of rough edges. Almost all of the shots are quick and short, almost violent in their abruptness. Although it may be a rather clichéd, overused scene to analyze, consider the Odessa steps sequence. Eisenstein gets us to full empathize with the characters we are presented with through his use of montage editing. The screaming women in the beginning of the sequence, when taken out of context, means nothing. But combined with the shots of the boots of the advancing Tsarist army (it may not be related editing, but it is interesting to note that we never see the faces of the guards), we understanding that the women is screaming in terror at the encroaching force. This style of editing allows us to view the action from multiple angles, and as a result, we are able not only to see the full scope of said action, but to empathize and grieve for characters we have not been fully introduced to.
Although Eisenstein pioneered the use of discontinuity editing, many other films have also used this style to disorient, confuse, and frighten audiences. Consider Christopher Nolan’s Memento, from 2000. As the movie alternates from black-and-white shots presented in chronological order to color shots presented in reverse chronological order, we become confused, disoriented. This editing allows the viewer to feel as confused and disoriented as Leonard, the protagonist of Memento, who has anterograde amnesia, which makes it impossible for him to create new memories. This style of editing serves the film’s purpose, and further helps us identify with Leonard.
In my opinion Eisenstein's theory works and the proof lies in the very films we watch. Eisenstein's theory states that the juxtaposition of shots, and attractions including lighting, camera angle, or subject movement, within shots, creates another meaning that the two shots alone may not have had. If two shots differ in lighting, angle or movement within the frame, the audience is forced to infer or try to figure out what has occurred between the two shots. The two shots shown separately with no connection at all may be interpreted differently or understood in a different way.
ReplyDeleteIn regards to Battleship Potemkin, the montage theory is well executed and proves to be a good example when explaining the theory. One very famous scene is the Odessa stair scene. The cuts between each shot are rough, quick and usually create a new meaning when cut closely together. On their own some the shots may appear confusing. Take for example the close up of the older woman screaming. Alone, this shot is simply of a woman screaming. However when cut in sequence with the falling baby carriage, the shot of her screaming comes to represent her scream as a reaction to the carriage falling. Eisenstein's theory can be demonstrated many times throughout Battleship Potemkin.
One film that uses discontinuity editing is Run Lola Run. It seems to take on several characteristics and principles from Eisenstein’s montage theory. A perfect example is when Lola begins to think of whom to go to for help. The clock starts to tick, many different shots of her thinking are quickly cut together, and faces curtly blink on the screen. This type of editing allows the viewer to see what Lola's mind and thinking process looks like. The juxtaposition of each different shot give off a new implied meaning of anxiety, chaos, urgency and confusion. The Eisenstein montage theory can be seen throughout many films giving new meaning to two shot that would otherwise be unrelated.