Eisenstein’s last film, “The Ivan Trilogy: Ivan the Terrible Part 2” found itself in the latter category. 33, 35. The camera cuts quickly from dancing feet to spinning faces further creating the desired tension. Through compositing, editors are able to create visuals and place images in a juxtaposition that weren’t possible 100 years ago, creating evermore complex meaning through the collision and overlapping of elements. Palmer, R. Barton . The montage is a foundational element of film theory, dating back to the origins of the modern cinema. Juxtaposed against Eisenstein’s collision montage, “The Island” is virtually absent of Marxist ideology and overt propaganda. 3. In addition to guiding the spectator’s attention from one point of the narrative to the next, his theory was used to “control rhythm, to create metaphors, and to make rhetorical points” that enhanced the proletariat image (Bordwell 9). Anything that seemed to criticize the war efforts were extremely sensitive, if not exactly taboo, for Party leaders. Eisenstein’s montage theory was accused under Stalinist rule of being too subjective, ambivalent, inaccessible to the masses, and not meeting the dictates of the State. editing. Flaherty, Joe. In film theory, a montage is the assembly of various clips, strung together to create a deeper meaning. These methods being titled Metric, Rhythmic, Tonal, Overtonal and intellectual montage (methods, 73). A dialectic relationship centers around thesis, antithesis, and synthesis. This is the montage, which they believed worked through a dialectic process. Including Essays from Sergei Eisenstein’s “A Dialectic Approach to Film Form,” & Andre Bazin’s “What is Cinema: The Evolution of the Language of Cinema.” NY: Oxford University Press, 2004. He cuts with rhythmic flow between juxtaposed angles of Anna Karina’s often-obscured profile before settling on the back of her head. In this story, Askoldov explores the morality of his country’s past through Vavilova, a woman who wrestles with her allegiance to maternity versus loyalty to country. These methods can be found in many films but Eisenstein specifically refers to montage in soviet cinema, including in Eisenstein’s own films. 10, 1990. What is CUDA? The ‘methods’ described in Eisenstein and Kuleshov’s writing became foundational, even in the styles of Soviet Cinema’s ideological rival; penetrating the auteurist sphere of capitalist, Hollywood Cinema. Prince, Stephen, and Wayne E. Hensley. 527, 531, 535. In authoritarian theory is a one way communication, there is no feedback allowed from the public but in Soviet media theory is a two way communication at the same time the whole media is controlled or works under the leadership. Directed by Jean-Luc Godard, Pathé Consortium Cinéma, 1962, Welcome to the Doing Film History blog, 2019-20, Doing Film History T3 Summative Assessment, Formative Task 1: Historical Style Analysis, Formative Task 2: Analysis of Primary Source, Formative Task 3: Analysis of critical work identifying a ‘position’ in Film History, Doing Film History T3 Summative Assessment: An Exploration of The British Documentary Movement, Group 6. This device is likely to affect American audiences as it is an American hero they align with. 48:2 (2004). Ice and fire are thus integral images of the film that act as metaphors for those historical freezes and thaws, restrictions and freedoms. Directed by Michael Curtiz, Warner Bros. 1942. Listov, Victor. ‘Both question the cinematic apparatus on a formal level, and it is this that is their greatest contribution to film history’ (Kiernan, 112). This interplay of ‘intellectual’ and ‘overtonal montage’ epitomises the structure of New Wave narratives, and demands the political engagement of the viewer, who must, akin to Kuleshov’s teachings, make connections between vignettes which deconstruct not only the form of mainstream cinema, but also its ideological bearings. Many more production freezes would occur throughout the Stalinist years that virtually denunciated and politicized every aspect of Soviet montage theory, individual style, and destroyed the talent of great artists. The use and interpretation of the moving image has changed in direct correlation to technological changes over the past century.