Sergei Eisenstein

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Sergei Eisenstein

Post  eddie on Sun Apr 01, 2012 5:37 am

http://www.youtube.com/watch?v=Ps-v-kZzfec
Odessa Steps sequence from Battleship Potemkin

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Re: Sergei Eisenstein

Post  eddie on Sun Apr 01, 2012 5:46 am

http://www.youtube.com/watch?v=JoYDyyMonn4
October: Ten Days That Shook the World

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Re: Sergei Eisenstein

Post  eddie on Sun Apr 01, 2012 5:50 am

http://www.bing.com/videos/search?q=youtube+strike+eisenstein&view=detail&mid=F582B785EA9A628BA13CF582B785EA9A628BA13C&first=0&qpvt=youtube+strike+eisenstein
Strike!

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Re: Sergei Eisenstein

Post  pinhedz on Sun Apr 01, 2012 6:40 am

In America symphonic composers generally did not work on Hollywood movies, but Russia's greatest composers often worked with Soviet movie directors. EISENSTEIN worked with Prokofiev and Shostakovich so closely that sometimes the action was directed to fit the music as much as the music was written to fit the action.

Here the subtitles don't fit, because the music (by prokofiev) is taken from a modern recording instead of the original soundtrack:


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Re: Sergei Eisenstein

Post  eddie on Sun Apr 01, 2012 7:33 pm

EISENSTEIN ON FILM MONTAGE (i.e. EDITING):

Eisenstein's montage theories are based on the idea that montage originates in the "collision" between different shots in an illustration of the idea of thesis and antithesis. This basis allowed him to argue that montage is inherently dialectical, thus it should be considered a demonstration of Marxism and Hegelian philosophy. His collisions of shots were based on conflicts of scale, volume, rhythm, motion (speed, as well as direction of movement within the frame), as well as more conceptual values such as class.

Methods of montage

1.Metric - where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. This montage is used to elicit the most basal and emotional of reactions in the audience.

2.Rhythmic - includes cutting based on continuity, creating visual continuity from edit to edit.

3.Tonal - a tonal montage uses the emotional meaning of the shots -- not just manipulating the temporal length of the cuts or its rhythmical characteristics -- to elicit a reaction from the audience even more complex than from the metric or rhythmic montage. For example, a sleeping baby would emote calmness and relaxation.

4.Overtonal/Associational - the overtonal montage is the cumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicated effect.

5.Intellectual - uses shots which, combined, elicit an intellectual meaning.

(Extracted from Wikipedia)


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