Sergei Eisenstein The Theory Of Montage

Intellectual Montage Eisenstein

Eisenstein was the second of the key Russian filmmakers. As a director, he was perhaps the greatest. He also wrote extensively about film ideas and eventually taught a generation of Russian directors. In the early 1920s, however, he was a young, committed filmmaker. Figure 1.12 Mother, 1926. Still provided by Museum of Modern Art Film Stills Archives. Figure 1.12 Mother, 1926. Still provided by Museum of Modern Art Film Stills Archives. Figure 1.13 Mother, 1926. Still provided by Museum of...

Luis Bunuel Visual Discontinuity

Chien Andalou Bunuel Dali 1929

Surrealism, expressionism, and psychoanalysis were intellectual currents that affected all of the arts in the 1920s. In Germany, expressionism was the most influential, but among the artistic community in Paris, surrealism had Figure 1.29 The Man with a Movie Camera, 1929. Still provided by British Film Institute. Figure 1.29 The Man with a Movie Camera, 1929. Still provided by British Film Institute. Figure 1.30 The Man with a Movie Camera, 1929. Still provided by Moving Image and Sound...

D W Griffith Dramatic Construction

Griffith is the acknowledged father of film editing in its modern sense. His influence on the Hollywood mainstream film and on the Russian revolutionary film was immediate. His contributions cover the full range of dramatic construction the variation of shots for impact, including the extreme long shot, the close-up, the cutaway, and the tracking shot parallel editing and variations in pace. All of these are ascribed to Griffith. Porter might have clarified film narrative in his work, but...

Preserving Screen Direction

Screen Direction The Direction

Narrative continuity requires that the sense of direction be maintained. In most chase sequences, the heroes seem to occupy one side of the screen, and the villains occupy the other. They approach one another from opposite directions. Only when they come together in battle do they appear in the same frame. Maintaining screen direction is critical if the film is to avoid confusion and keep the characters distinct. A strict left-to-right or right-to-left pattern must be maintained. When a...

Vsevolod I Pudovkin Constructive Editing And Heightened Realism

Pudovkin Ivan Mosjukhin

Although all of the Soviet filmmakers were deeply influenced by Griffith, they were also concerned about the role of their films in the revolutionary struggle. Lenin himself had endorsed the importance of film in supporting the revolution. The young Soviet filmmakers were zealots for that revolution. Idealistic, energetic, and committed, they struggled for filmic solutions to political problems. Perhaps none of the Soviet filmmakers was as critical of Griffith as V.I. Pudovkin.8 As Reisz...