Week Three: Soviet Montage School

October 16, 2010

Eisenstein goes further than Pudovkin– they’re often associated with one another. Eisenstein was more interested in captivating intellectually, while Pudvokin emotionally. Pudvokin’s films contained heroes and Eisenstein’s people. Eisenstein referred to editing as montage, and didn’t see individual shots as building blocks, as opposed to Pudovkin.

    Pudvokin says that creative filmmaking comes from putting together shots (or bits of reality, which Eisenstein couldn’t accept, instead believing in lighting, movement, volume, etc). These narrative events are told through the director’s interpretation of history or psychology. Editing is key to the heightened reality of the film. Similar to Eisenstein’s theories, the audience views the film as if it were truly reality, and individual shots are stressed. But he wanted to link shots together. In contrast, for Eisenstein it involved fragments for collision (instead of building blocks), or “an audience of co-creators”. Eisenstein said, ‘If the editing be merely an uncontrolled combination of the various pieces, the spectator will understand (apprehend) nothing from it; but if it be co-ordinated according to a definitely selected course of events or conceptual line, either agitated or calm, it will either excite or soothe the spectator.’ He believed that these shots shouldn’t dominate our experience — creating meaning instead of directing it. His theory contains more complexity than Pudovkin, who said a shot is only a technical step. Eisenstein used montage, and Pudovkin was conflicted toward this idea, instead concentrating on courage. Overall, Eisenstein’s ideas seem more well-developed.

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    One Response to “Week Three: Soviet Montage School”

    1.   Priest Rasch Says:

      I wanted to thank you for this very good read!! I certainly loved every little bit of it. I have got you book-marked to look at new stuff you post…

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