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CIN2101 (16)

CIN2190 FEB 8

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University of Ottawa
Film Studies
Florian Grandena

CINFEB8 – continuing from last week – 'Shocks' and contradictions conveyed through a conflictual editing and traditional narrative. Sergei Eisenstein. – Film viewing is complex – one type of editing/shocks etc doesn't have the same affect on everyone – rejection of traditional narrative. Dziga Vertov. (sidenote: in battleship, the director was a fan of traditional narratives.) Kulechov Effect – Montage: specific to cinema – three identical shots – used those in combination with three other shots (food, corpse, naked woman). He asked people what they saw, and they saw different expressions each time. – The filmmaker saw that what was producing reaction wasn't the shot itself, but what the shot was paired with – relies on the relationship between two different shots, not the shot itself. – Here, montage creates the actor's expression, as well as an imaginary time, space, and action. – It relies on the basic principle of montage, which is very specific to the film medium. – By combining different shots, a filmmaker can construct a time and space that did not exist before. – Spectators rely more on the place and the relation between shots than on the shots themselves. – For Koulechov (two different spellings, one French and one English), rhythm was the real content of films (rhythmic sequence of shots). – It decides and determines what spectators are going to think and how they are going to react. – Here, montage creates the actor's expression as well as an imaginary time, space, and action. – Cinematic realism is not photographic realism. Films do not reproduce but create. – The Kulechov experiment was inspired by Pavlov and his dogs. Pavlov's Dogs – Discovery of the acquisition (and loss) of conditioned response. – Stimuli of a certain nature are supposed to provoke a response of a certain nature. – Nota bene : the Kuleshov effect relies on a parallel editing. – Intellectual montage. – Battheship Potemkin: Revolutionary propaganda film in which Eisenstein experiments with his montage theory and its effects on spectators (Kulechov effect). – By using intellectual montage, Eisenstein tries to provoke strong emotional response so that spectators can experience empathy for the sailors. – Non-respect of some findamental rules of mise-en-scene. – (Partial) rejection of Hollywood continuity editing. – Ashot in conflict with another creates a new meaning that is independent from each individual shot. – Films must represent reality and take position at the same time (ideological positioning). Filmmakers were not supposed to be neutral – defend and protect the communist ideology. – Film = structured ideological discourse. – Intellectual montage aims to provoke extreme reactions by emphasizing conflicts, contrasts, contradictions, etc. – Films = reflection originating from a concrete experience and the analysis of reality. Attractions – Attraction what can be used to influence spectators and convince them of the validity of the film-maker's opinions. – Attractions = political aim. – Must not be limited to entertainment or at the service of the narrative. – (listen to the recording for this time, 30m in or so) Dziga Vertov – Fabrication of facts 'Artistic journali
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