Feb 11: ha ha ha what no

WHAT HAPPENED TODAY

Today, the class was introduced to the newest unit- montage editing. 

The usual presentation included some examples, one of which was the Rocky 4 training montage. This opened the introduction, and we were lead to learn more about the theory of film as an art form and how montage editing solves the "problem" that cinema has, namely being limited to storytelling. Even in documentary form, storytelling is evident, with the use of continuity editing to tell that story in order to evoke thought processes from the viewer. In other, more fictional story based genres of film, the story being told by continuity editing is used to evoke emotions. Montage, as suggested by Sergei Eisenstein, utilizes discontinuous editing to evoke emotions that come from the viewer themself based on the connections our minds make with the sequence of certain images (e.g., a picture of a dead baby and then another picture of a crying person would allow the viewer to piece together that the crying person is reacting to the dead baby). Of course, this is evidently a technique already used in continuous films. However, montage allows juxtaposition to be used and manipulated to its fullest, and to a class of students who are brought up themselves on continuous film, as well as studying continuous editing and film for years, this is all very hard to take in.

We did, though, get to try what is coined as the Kuleshov effect (named after Lev Kuleshov- see notes) in a short exercise today, where we got into groups of three and shot someone acting out an emotion, then acting two completely different scenarios which the person could be reacting to, finally using montage editing to create two different clips telling entirely different stories.

My group, Hannah, Sapphire and I, chose the emotion to be interpreted as either someone who was "crushed", or terrified. The action involved Hannah putting her head in her hands and slinking to the floor. The two scenarios were someone dying, and someone advancing on her intending to attack. In editing, this became very clear (as I suppose it was intended to).

IB LEARNER PROFILE

Today, during the presentation I had to take in the new information and process it. Normally this wouldn't be an issue, but today I had to be a thinker in order to actually understand it properly from the perspective of someone who grew up on more or less the opposite. Even with examples I had to squint and try my hardest to see the idea. This also reflects having to be knowledgeable, as I had to explore indepth concepts such as this. 

I was very confused initially too during the activity and didn't understand it fully until editing it, meaning that I had to be a risk taker and try it with the best of my ability. 

montage introduction (!!!)

WHAT IS A MONTAGE

a single pictorial composition made by juxtaposing or superimposing many different images

WHAT IS MONTAGE EDITING

p[roduction of a rapid succession of images to create an idea

*ROCKY 4 TRAINING MONTAGE*

Montage is "the nerve of cinema... to determine the nature of montage is to solve the specific problem of cinema." -Sergei Eisenstein, 'A Dialectic Approach to Film Form'

THE PROBLEM WITH FILM: never actually reality, even documentary is not 100% reality
Eisenstein talks about montage solving the problem- what continuous editing achieves (creating a story and evoking emotions which are fake) is different from the emotions that are evoked from montage, which is focusing on the art of film

SOVIET MONTAGE THEORY

Lev Kuleshov (1899-1970)- russian filmmaker and theorist
His idea was that the juxtaposition of different images can lead the viewer to reach different conclusions about the action in a film, and conducted an experiment named after him

THE KULESHOV EFFECT
It's not only the acting or content of the scene that can elicit an emotional response
The viewer brings their own emotional response to what they see


SERGEI EISENSTEIN (1898-1948)

believed that editing could be used for more than just showing a scene
felt that the "collision" of shots could be used to manipulate the emotions of the audience and create film metaphors (two shots not just juxtaposed but crashed together)
differed from kuleshov in believing that "each sequential element perceived not next to each other but on top of each other"
his most famous sequence of early montage editing (in soviet montage style) was the sequence The Odessa Steps from Battleship Potemkin
>lots of perspectives meshed into one
>chaos and fear
>Fast editing, fast cutting
>dynamic movement in cutting matches dynamic movement on screen

EISENSTEIN MONTAGE THEORY
discontinuity editing
violations of continuity rules including the 180 degree rule
transitions between shots deliberately obvious, less fluid, non seamless
argued that montage is inherently dialectical (new ideas emerging from conflict)
developed "methods of montage"
1. metric
"october" 1927
editing follows a specific number of frames regardless of what happens to image
simple relationships between images work best
suitable for simple march time montages
danger can overcomplicate emotionally
2. rhythmic
focuses not on the time between shot changes but key movements within the frame (e.g. eye movement)
good for portraying opposing forces

potemkin shows the soldiers coming in always from the left to the right and the revolutionaries right to left
3. tonal
focuses on emotional meaning of the shots, not just manipulating the temporal length of the cuts or its rhythmical characteristics
4. overtonal
"strike" 1925
interplay of metric, rhythmic and tonal characteristics (pace, idea, emotions) to create more complex response
5. intellectual

inroduction of ideas and associations into the edit
conflict juxtaposition of intellectual affects