Film Studies 1022 Lecture Notes - Lecture 4: Continuity Editing, Dialectic, Soviet Montage Theory

• School: Western University
• Department: Film Studies
• Course: Film Studies 1022
• Professor: Barbara Bruce

Document Summary

The fil(cid:373)(cid:373)ake(cid:396)s the(cid:374) adapted ma(cid:396)(cid:454)"s idea to (cid:272)i(cid:374)e(cid:373)a, to editi(cid:374)g i(cid:374) pa(cid:396)ti(cid:272)ula(cid:396). Soviet filmmaker eisenstein believed that as an artist his responsibility was to capture the dynamic opposites theorized by marx. Eisenstein believed that the dialectical conflicts could not only be incorporated into the subject (cid:373)atte(cid:396) of the fil(cid:373), (cid:271)ut also i(cid:374)to the ve(cid:396)(cid:455) fil(cid:373)"s te(cid:272)h(cid:374)i(cid:395)ue a(cid:374)d fil(cid:373)"s fo(cid:396)(cid:373). Eisenstein believed that film as potentially the best work formed to capture opposites. Filmmakers could specify the conflicts that we could see in other arts. For example, a filmmaker can incorporate the visual and graphic conflicts of painting and photography. The verbal conflicts of language and the character and the a(cid:272)tio(cid:374) (cid:272)o(cid:374)fli(cid:272)t of fi(cid:272)tio(cid:374) a(cid:374)d d(cid:396)a(cid:373)a. A (cid:272)(cid:396)u(cid:272)ial aspe(cid:272)t of eise(cid:374)stei(cid:374)"s theory was the editing was fundamental to his idea of conflict. He staged shot and cut his films for the maximum collision from shot to shot and sequence to sequence.