SERGEI EISENSTEIN. Film Form. ESSAYS IN FILM THEORY, edited and translated by . passed by each of Eisenstein's films; the principles were stub. File:Eisenstein Sergei Film Form Essays in Film Theory pdf Eisenstein_Sergei_Film_Form_Essays_in_Film_Theory_pdf (file. Sergei Eisenstein: A Dialectic Approach to Film Form. 2. The foundation for this philosophy is a dynamic concept of things: Being – as a constant evolution from.

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Appendix A.: A statement on the sound-film by Eisenstein, Pudovkin, and urn: acs6:filmformessaysin00eise:pdf:fe4efbbc montage as developed by Russian filmmaker Sergei Eisenstein ( -. ) can be used to existence of every art work and every art form.**. Principals of. After D.W. Griffith, the most important figure in the history of the international cinema is Sergei Eisenstein. Both men died in , but Eisenstein left a double .

Film form; essays in film theory

A dynamic comprehension of things is also basic to the same degree, for a correct understanding of art and of all art-forms, In the realm of art this dialectic principle of dynamics is embodied in CONFLICT as the fundamental principle for the existence of every art-work and every art-form. For art is always conflict: I according to its social mission, 2 according to its nature, 3 according to its methodology. According to its social mission because : It is art's task to make manifest the contradictions of Being.

To form equitable views by stirring up contradictions within the spectator's mind, and to forge accurate intellectual concepts from the dynamic clash of opposing passions. According to its nature because: Its nature is a conflict between natural existence and creative tendency.

Eisenstein_Film_Form - A Dialectic Approach to Film Form By...

Between organic inertia and purposeful initiative. Hypertrophy of the purposive initiative — the principles of rational logic — ossifies, art into mathematical technicalism. A painted landscape be comes a topographical map, a painted Saint Sebastian becomes an anatomical chart. Hypertrophy of organic naturalness — of organic logic — dilutes art into formlessness.

A Malevich becomes a Kaulbach, an Archipenko becomes a waxworks side-show. Because the limit of organic form the passive principle of being is Nature.

Theorist: similar to Heidegger's statement about the one star which you spend your life shinning. Eclectic, not systematic.

Gradually changed his stance on intellectual montage. Hailed the junction of the Kabuki and the sound film. Monistic Ensemble--sound, movement, space, costume, voice function as elements of equal significance.

Transference--the method of transferring the basic affective aim from one material to another " Pudovkin and G.

Alexandrov signed a joint statement on sound film. Opportunity: only in contrapuntal use of sound will it become a montage element. Is most interested in the "copulative" category of heiroglyph where two objects when placed together become a concept which is regarded not as their sum but as their product, a value of another dimension: the ideogram.

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This is what is done in montage in cinema: combine depictive shots which re neutral and single in meaning into intellectual contexts and series. Principle of ideogram: denotation by depiction. Laconism: compressed, brief forms characterize Japanese poetry.

Haiku, for E. Disproportionate depiction of an event: talks about child's picture of stove and room and huge matches which show how important they are--that this is natural in humans. It is simply the function of a certain form of social structure.

Shot: montage cell which can form an embryo. Montage: characterized by the collision of two pieces in conflict from which arises a concept. Montage compared to the explosions of an internal combustion engine which drive the tractor or film forward.

Stalin: artists are the engineers of the soul. Conflicts: Graphic directions, Scales, Volumes, Masses--volumes filled with various intensities of light, Depths. Stresses the principle of conflict: counterpoint. Talks about two methods of teaching drawing: without reference to the frame, or by cutting out compositional elements from a cherry tree branch framing. These ways are analogous to two basic tendencies struggling in cinema: 1.

Film form essays in film theory,

Kabuki's "disintegrated" acting. Acting with an arm, or leg, breaking up the unity of the actor. Uses as an image the teaching of rifle handling to an illiterate recruit by breaking down the steps as opposed to the "spongy shapelessness" of naturalism. Nature--embodying a conflict between natural existence organic inertia and creative tendency purposeful initiative.

About Writings, 1922-1934

Hypertrophy of purpose makes art to rational. Hypertrophy of naturalness dilutes art into formlessness. Methodology--montage, which is the idea which arises from the collision of independent shots. Seeks a purely intellectual film freed from traditional limitations. These secondary stimuli are the overtones and understones. In cinema the trick is to exploit these collateral vibrations to achieve the visual overtonal complex of the shot.

Overtones cannot be traced in the static frame, just as they cannot be traced in the musical score. Both emerge only in the dynamics of the musical or cinematic process.

The visual and aural overtones are elements of a filmic fourth dimension which can be felt. Tension obtained by shortening or lengthening the pieces while preserving the original proportions of the formula. Simple relationships are best because they give clarity of impression.

Suitable for simple march-time montages. Content is subordinated to the absolute length of the piece. Danger: over-complexity to the point where perception is by measurement rather than by impression.

When metrical montage is forceably applied it can result in montage failure. Rhythmic montage--the content within the frame is a factor posssessing equal rights to the length. The practical length derives from the specifics of the content and its movement within the frame. Tonal montage--movement within the frame is here given a wider sense. Movement embraces all affects.

Montage is based on the characteristic emotional sound of the piece, its dominant, the general tone. Overtonal montage--distinguished from tonal montage by the collective calculation of all the piece's appeals. Intellectual montage--conflict juxtaposition of intellectual affects. See "Vertical montage in "Synchronization of Senses".

These types of montage enter into conflict with one another. Transition from Metric to Rhythmic because metric does not take into account the movement within the frame as it relates to the length of the shot. Transition from Rhythmic to tonal because of need to honor the dominant emotional tone of a piece. Only by critical comparison with the more basic early forms of spectacle is it possible to master critically the specific methodology of the cinema.

Needed for creative work: persistence over time.Speaks against narrowly representational uses of music within film. Light conflict. Conflict of Planes. Thus does conflict between optical and acoustical experience produce: sound-film, which is capable of being realized as audio-visual counterpoint. A chord, or even three successive notes, seems to be an organic unit. The gradational quality is here determined by the fact that there is no difference in principle between the motion of a man rocking under the influence of elementary metric montage see above and the intellectual process within it, for the intellectual process is the same agitation, but in the dominion of the higher nerve-centers.