7/2/2023 0 Comments Metric montage meaning![]() ![]() For example, in the Odessa Steps sequence of Potemkin (1925), soldiers march down the steps from one quadrant of the frame, followed by people attempting to escape from the opposite side of the frame (Figures 1.17 to 1.21). This type of montage has considerable potential for portraying conflict because opposing forces can be presented in terms of opposing screen directions as well as parts of the frame. Continuity based on matching action and screen direction are examples of rhythmic montage. Rhythmic montage refers to continuity arising from the visual pattern within the shots. Still provided by British Film Institute. The use of close-ups with shorter shots creates a more intense sequence (Figures 1.15 and 1.16). This increases the tension resulting from the scene. Regardless of their content, shortening the shots abbreviates the time the audience has to absorb the information in each shot. Metric montage refers to the length of the shots relative to one another. The clearest exposition of his theory has been presented by Andrew Tudor in his book Theories on Film.13 METRIC MONTAGE His theory of editing has five components: metric montage, rhythmic montage, tonal montage, overtonal montage, and intellectual montage. ![]() Strikes, the 1905 revolution, and the 1917 revolution were Eisenstein's earliest subjects.Įisenstein achieved so much in the field of editing that it would be most useful to present his theory first and then look at how he put theory into practice. The principle of the dialectic was particularly suitable for subjects related to prerevolu-tionary and revolutionary issues and events. Beginning with Strike (1924), Eisenstein attempted to theorize about film editing as a clash of images and ideas. With a background in theatre and design, Eisenstein attempted to translate the lessons of Griffith and the lessons of Karl Marx into a singular audience experience. Still provided by Museum of Modern Art/Film Stills Archives. In the early 1920s, however, he was a young, committed filmmaker. He also wrote extensively about film ideas and eventually taught a generation of Russian directors. ![]() As a director, he was perhaps the greatest. The practice of cutting according to the shot’s relationship to an intellectual concept.Eisenstein was the second of the key Russian filmmakers. In the words of Eisenstein, “from the moment that overtones can be heard parallel with the basic sound, there also can be sensed vibrations, oscillations that cease to impress as tones, but rather as purely physical displacements of the perceived impression.”įrom this, we can take away that overtonal montage is the intermixing of larger themes (whether political or religious or philosophical) with the emotional tones of the piece through the use of metric and rhythmic montage. The practice of cutting according to the various “tones” and “overtones” of the shot. This one is even more abstract than tonal montage. These shots can be matched by both video and aural characteristics. Instead, it’s a combination of both metric and rhythmic montage to highlight any emotional themes that may be present at that particular point of time in your story. This type of montage is a bit more subjective in the sense that you’re not cutting towards any physical aspect of media. The practice of cutting according to the emotional tone of the piece. Each shot’s length derives from the specifics of the piece and from its planned length according to the structure of the sequence. This is the most commonly used form of montage. ![]() The practice of cutting according to the content of the shots, or continuity editing. The practice of cutting according to exact measurement, irregardless of the content of the shot. It was introduced to cinema primarily by Sergei Eisenstein The term has been used in various contexts. Montage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information. ![]()
0 Comments
Leave a Reply. |