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Topic: Intellectual montage

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	Montage (film) - Wikipedia, the free encyclopedia
		Montage is a French word, translated as a verb, to edit, or a masculine noun, assembly.
		This montage is used to elicit the most basal and emotional of reactions in the audience.
		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.
	en.wikipedia.org /wiki/Montage_(film) (803 words)

	[No title]
		A prime example of intellectual montage would be Eisenstein\rquote s use of sequence in }{\ul October}{ (1928) to compare the leader of a provisional government to Napoleon (Thompson & Bordwell, 145).
		Montage in film is by nature a deliberate series, as it i s impossible to view the images out of order while watching a movie.
		Montage is the creation of a new idea independent of both A and B. \par \tab A prime example of the effects of montage can be found in the classic mini-series, }{\i Watchmen}{ (Moore & Gibbons, 22).
	www.cwrl.utexas.edu /~nelson/309k_f01/dictionary/lubbers.rtf (954 words)

	Montage Theories Page
		Applied to cinema, this 'stirring up' of contradictions and forging of 'accurate intellectual concepts' is achieved via two (not necessarily related) shots which, when juxtaposed, function to create a new state of feeling in the spectator.
		While in metric montage, the content was determined by the absolute length of the sequence, in rhythmic montage, the action within the frame is given as much weight as the actual physical length of each shot.
		Tonal montage, represents a level above rhythmic montage, and is motivated by the emotional tone of a particular sequence.
	www.hatii.arts.gla.ac.uk /MultimediaStudentProjects/98-99/9505060m/objects/Theor.htm (835 words)

	Intellectual montage - Wikipedia, the free encyclopedia
		Intellectual montage is film editing technique that seeks to create a metaphor or analogy by cutting together two unrelated images.
		Eisenstein and contemporaries such as Lev Kuleshov and Dziga Vertov argued that editing, montage in all its variations, was the essense of the cinema.
		He argued that "Montage is conflict" (dialectical) where new ideas emerge from the collision of the montage sequence (synthesis) and where the new emerging ideas are not innate in any of the images of the edited sequence.
	en.wikipedia.org /wiki/Intellectual_montage (510 words)

	cinetexts
		One main characteristic of Soviet Montage films is the downplaying of individual characters in the center of attention.
		The use of such nondiegetic shots was central to Eisenstein's theory on "intellectual montage".
		Intellectual montage creates its effects through conflict such as the juxtaposing of shots that have no direct connection.
	cinetext.philo.at /reports/sv.html (667 words)

	Muriel: Thinking With Cinema About Cinema
		But it is this "intellectual montage" that Tarkovsky (unwittingly expressing Bergsonism) vehemently opposed in both theory and practice (though ultimately he was much closer to Eisenstein’s ‘third meaning’ tonal and overtonal montage than he would ever care to admit or acknowledge).
		As a consequence of this montage style, the aesthetic power of their films is felt at many points throughout the narrative, rather than cumulatively at the end of long scenes or at the conclusion of the film.
		Montage is assigned the function of restoring the "laws of the process of thought," but thought does not necessarily align with the rational or irrational.
	www.horschamp.qc.ca /new_offscreen/muriel.html (3514 words)

	chicagomediaworks.com - Eisenstein's Film Essays
		Orthodox montage is montage on the dominant, the foreground, the chief tendency within the frame, the central stimulus attended by a whole complex of secondary stimuli.
		Montage is based on the characteristic emotional sound of the piece, its dominant, the general tone.
		The principles of constructing a plot and the principles of montage construction are identical: the breaking of inertia and the ability to mentally reconstruct a whole from a part.
	www.chicagomediaworks.com /2instructworks/3editing_doc/3editingeisenstein.html (2319 words)

	A Deleuzian Analysis of Tarkovsky’s Theory of “Time-Pressure.”
		This new way of conceptualizing montage involves the matching of the internal rhythms within the shots with each other, and it is this new brand of temporal linkage that dictates the cut (not the concept which dictates the cut in Eisensteinian montage).
		The significance of the crystal-image is of immense importance in Tarkovsky’s theory of time-pressure and in the time-rhythm montage of Mirror because it is the key that unlocks the door to the compositional domains of the opsigns and sonsigns which are the correlates of the time-images.
		Thus, the montage of attraction produces an explosion of meaning that arouses the viewer, and its purpose is to suggest specific ideas and concepts; and so, the filmmaker creates a new perception of social reality.
	www.horschamp.qc.ca /new_offscreen/deleuzian_pressure.html (5705 words)

	Intellectual Montage
		Intellectual montage, perhaps more than any of his other theories, brought Eisenstein the greatest amount of criticism.
		An example of this [intellectual montage] can be found in the sequence of the “gods” in October, where all the conditions for their comparison are made dependent on an exclusively class-intellectual sound of each piece in its relation to God.
		Intercut with his movement up the stairs, are six 'intellectual' shots of a statue holding a wreath; the implication being that Kerensky, with all his posturing on the steps, is nothing more than a vain and superficial dictator.
	www.hatii.arts.gla.ac.uk /MultimediaStudentProjects/98-99/9505060m/objects/intellectual.htm (531 words)

	MonTAGe Vol 1:4p3
		When you think about it, intellectual giftedness is merely the fortunate happenstance of genetics as expressed in the chemical relationships in the brain.
		Some children are more intellectually capable than their age-mates due to a combination of factors, both physical and environmental.
		Differences in intellectual capacity or expressions of behaviors seem to arise from the complex interplay between what you start with, the environment influences the child experiences, and the child's individual developmental patterns.
	www.hoagiesgifted.org /montage/v1n4p3.html (1823 words)

	Hakata on Smith
		It is Godard and Varda who share so many intellectual concerns: the relation between film and 'high art', film and photography, film and politics.
		Montage from a European perspective means a totally different thing from the Hollywood perspective.
		Montage from a European perspective is all about creating a mythography -- something close to psychoanalysis and politics.
	www.film-philosophy.com /vol3-1999/n48hakata (2361 words)

	Structural Hypermedia
		Rather, it is the objective of Eisenstein's montage theory to produce an abstract intangible intellectual montage from concrete images and sound representations.
		This intellectual montage collates readily with Barthe's mythology.
		Eisenstien would phrase this as that it generates an intellectual meaning by virtue of the interactions of the un-sensed conceptual units of an overtonal montage.
	www.electronicmirror.com /nmstructure/hyperessay.htm (6152 words)

	Greg Smith, Greg M. Smith: Moving Explosions - Sergei Eisenstein
		In one of his most famous categorizations, Sergei Eisenstein creates a hierarchy of cinematic means from the simplest physiological stimuli (in "metric montage") to a primitive emotional appeal ("rhythmic montage") to the pinnacle of cinematic achievement: intellectual montage.
		Thus the transition from metric to rhythmic montage or from tonal to overtonal montage requires that the conflict become so intensified that the tension cannot be resolved without ascending to a new level.
		Whether audience members are experiencing relatively simple metric montage or more complex intellectual montage, they respond emotionally based on associations and rhythms evoked by the senses moving across the stylistic contours of the artwork.
	www2.gsu.edu /~jougms/Eisenstein.htm (6649 words)

	CTheory.net
		The intellectual consciousness, as opposed to the subconscious, is characterized by an excess of thought.
		The fragmentation of montage film, the organization of the images in time and the frequent use of figures of verbal language are the causes of montage film having such an imperative character.
		The montage should not be used to imply a structuring in time but should be incorporated into the plasticity of the image.
	www.ctheory.net /printer.aspx?id=94 (6271 words)

	Hollywood on the Head of a Pin: Montage and Marketing at the Oscars (Site not responding. Last check: 2007-10-08)
		(Montages were rarely featured in earlier telecasts, and indeed the clips from nominated films were usually single extracts until the ‘90s.) 1991’s montage depicted stars remembering their first times at the movies.
		No tradition of cinematic montage, whether classical Hollywood, modernist, or the intellectual montage of the early Soviet era, incorporated a structural refusal of causality or narrative in favor of sheer additivity (omitting avant-garde cinema, the exception that proves the rule).
		And when the show cuts away from the montage to the proscenium stage, with the final montage image lingering on the in-house screen (as in the 1990 montage’s image of O’Toole’s Lawrence blowing out a candle), the montage image is experienced as frozen and flat like a dead fish eye.
	www.tft.ucla.edu /mediascape/number01/HeadofaPin.htm (3187 words)

	Eisenstein
		For the first time he introduced the concept of "montage," that is, the juxtaposing of two film images to produce a new idea.
		In his theater work, he had devised the "montage of attractions," which was the throwing at an audience of shocking, spectacular scenes, totally unexpected in a theater.
		Montage is the unity and conflict of opposites in art.
	www.wsws.org /arts/1998/feb1998/eisen.shtml (5249 words)

	Film Terms
		artists who are more intellectually or aesthetically advanced than are their contemporaries (if we assume that art is progressing).
		In Brecht's theory, the desirable effect which keeps both audience and actors intellectually separate from the action of the drama.
		all the elements placed in front of the camera to be photographed, that is, part of the cinematic process that take place on the set, as opposed to montage, which takes place afterward.
	www.geocities.com /the7thart/film-terms.html (6343 words)

	Steve Nottingham: Early Soviet Cinema
		Eisenstein extended the initial theory of montage to encompass intellectual montage, by which a film is constructed as a series of colliding shocks (attractions) to convey a specific meaning to the audience.
		Eisenstein saw montage as a dialectical process, which raised conflicts that needed to be resolved.
		Pudovkin wanted his montage to be seamless, not drawing attention to itself, and be used solely to support the film's narrative.
	ourworld.compuserve.com /homepages/Stephen_Nottingham/cintxt1.htm (1813 words)

	[No title]
		Montage, multiple viewpoints and narrators, stream-of-consciousness and other techniques allowed to render human mind with new fidelity.
		Tabula rasa." [2] Marker showed that cinema can be used to construct intellectual essays, the essays which associatively move from idea to image, and an image to another idea (for instance, in his recent "Level 5").
		In this formulation, an individual image corresponded to a single concept, and thinking was thought to be provoked when a number of images were juxtaposed in a series.
	www.manovich.net /DOCS/proust.doc (1719 words)

	[ Nostalghia.com \| The Topics :: Andrei Tarkovsky: Between Two Films ]
		The montage was inspired by emotions, not by the direct sequence of events.
		However when the idea of a montage "of flares" fell away, we filmed the material that ended up in the picture and this turned out to be probably simpler and more impressive.
		The action in the shot is organized intellectually, although in fact man's psychic state and its physical expression are not usually coordinated in such a direct fashion.
	www.ucalgary.ca /~tstronds/nostalghia.com/TheTopics/Betwtwofilms.html (2072 words)

	Madinkbeard » Rethinking Transitions Part One (Site not responding. Last check: 2007-10-08)
		Montage is something that can be done in comics, though you don’t see it too much.
		It seems like the idea of montage if used in comics might fall into a similar place as non-sequitur were one to read them on a surface level.
		Any two panels really could be read with some sense of connection, and the kind of transition that, for instance, Dash Shaw frequently uses in The Mother’s Mouth would not really fit into any of the other transitions (unless one wished to stretch the definition of “scene-to-scene”).
	madinkbeard.com /blog/archives/rethinking-transitions-part-one (1053 words)

	JUSUR :: Three Films from the Middle East
		Averroes’ philosophical writings deal most prominently with the reconciliation of wide-ranging intellectual traditions in art, philosophy, religion and politics, a position that was not fashionable as the Inquisition began.
		Through his interethnic intellectual montage, he also links religious and intellectual repression among these and other peoples, as always pointing out cultural similarities rather than focusing on differences.
		I saw them pause and point at the calendar in the doorway as they were leaving, recognizing that the Chahine festival was ending and, in a different kind of interethnic intellectual montage, a festival of films from another land in the Middle East was beginning within the hour.
	www.isop.ucla.edu /cnes/jusur/print.asp?parentid=15504 (5305 words)

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	www.ideaxchg.com /montage/help/eula.htm (1226 words)

	xscreenings
		Eisenstein and his montage style of editing were discussed by Foss in FILMMAKING, and compared unfavorably to Bazin and the theory of the long take, which supposedly left more freedom to the viewer to infer the meaning of the images.
		Edward Small takes just the opposite view of Eisenstein, praising the invention of intellectual montage as a kind of image writing that makes it possible for an image discourse to function conceptually (addressing the intellect as well as the emotions).
		The concept and form of intellectual montage is central to direct theory.
	web.nwe.ufl.edu /~gulmer/fall00/xscreenings.html (345 words)

	202Montage (Site not responding. Last check: 2007-10-08)
		In addition to affecting the audience emotionally, editing can also prompt audiences to engage with the film intellectually, making intellectual connections between shots that initially seem unrelated.
		Key examples of intellectual montage or metaphorical editing can be seen in the work of Sergi Eisenstein
		The audience is jolted into intellectual awareness, it becomes active in the interpretation of meaning
	pages.emerson.edu /faculty/P/Peter_Flynn/202Montage.htm (559 words)

	COM 402 Media Aesthetics
		• It is because of Eisenstein’s theories and practice of film montage (directly or indirectly) that we experience alternatives to continuity editing today.
		• sectional analytical montage = temporarily arrests the progression of an event and examines an isolated moment from various viewpoints
		• collision montage = juxtaposing two or more opposite events in order to generate or reinforce a basic idea or feeling
	academic.regis.edu /jgschwin/402lecoutline.12.htm (612 words)

	FMA 101- Screening Notes (Site not responding. Last check: 2007-10-08)
		Eisenstein identified five basic types of editing practice or montage: metric, rhythmic, tonal, overtonal, and intellectual montage.
		While his theories do not ignore the construction of meaning or continuity, they are of value in part because they also stress manipulation of the "plastic"qualities of the film medium which distinguish it from other artforms (e.g.
		Directed by the painter Robert Longo, it uses rhythmic montage between sound and picture for a purely sensory experience.
	www.temple.edu /fma/barber101/101screeningnotes.html (2916 words)

	Judit Bárdos: From the montage of attractions to theory of intellectual film (Site not responding. Last check: 2007-10-08)
		Judit Bárdos gives a thorough review of the film theory of Eisenstein taken from between 1923 and 1929, from his theatre theory of that time which put in centre place the "montage of attractions", through classic montage-theory finally to a conception of intellectual montage.
		Besides this, the author points out that Eisenstein cannot be called a Marxist thinker, and in fact he formulated most of his tenets in opposition to the dominant Marxist aesthetics.
		The author lays special stress on Eisenstein's plan for the film 'Capital', which is one of the purest fundamental cases of intellectual film, and Bárdos analyses it in detail.
	emc.elte.hu /~metropolis/english/9803/bareng.html (165 words)

	Part 4: Editing
		Editing can affect the experience of time in the cinema by creating a gap between screen time and diegetic time (Montage and overlapping editing) or by establishing a fast or slow rhythm for the scene.
		Sergei Eisenstein, in particular, developed a complex theory of montage that included montage within the shot, between sound and image, multiple levels of overtones, as well as in the conflict between two shots.
		Soviet Montage proved to be influential around the world for commercial as well as avant-garde filmmakers.
	classes.yale.edu /film-analysis/htmfiles/editing.htm (3300 words)

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