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Please see your browser settings for this feature. EMBED for wordpress. Want more? Advanced embedding details, examples, and help! Reviewer: GapOkie - favorite - October 15, Subject: Bootleg Video I can't believe this poor shooting from the audience of a screening of Potemkin with orchestra should be allowed here.
The camera operator didn't even have a clear view of the screen It was until , when Russian filmmmaker Sergei Eisenstein and his film, The Battleship Potemkin, showed the film industry that editing is more than just a necessity.
His work showed that it is an artistic opportunity. Eisenstein's great contribution to the world of editing is the montage: a series of related images presentedin sequence to convey an emotional message to an audience 16 ".
Many film theorists and critics agree that the Eisenstein's montage editing shows the principles for establishing meaning in film. Some of 13 J. England: Oxford University Press, p. Johnson The Montage. Canada, p. Loehr , September. Nitin Sawhney shows that "Eisenstein felt that film must try to visually represent concepts to create intellectual cinema" We can say that Eisenstein expects an intellectual involvement from the audience.
Sawhney also includes some of Eisenstein's thoughts: "Eisenstein does not consider the shot an element of montage but rather a montage cell, characterized by linkage but conflict. He believes that a collision of shots, not there mere combination, creates the montage of film. Eisenstein subscribes to the 'dramatic' principle where montage arises from a collision of independent and even opposing shots.
The incongruence in contour of the first picture -already impressed in the mind- with the subsequently perceived second picture engenders, in conflict, the feeling of motion 18 ". Sawhney also clarifies the relationship between conflict and the film.
In film, conflict is used both within a shot and within a frame 19 ". At this point, we can see the pure relationship between the conflict and the film. Jason Lunsford defines the montage as a result of conflict.
He points out different conflicts occurring in Eisenstein's films for narrative structure and intellectual involvement: "the conflict of graphic directions lines , the conflict of shot levels between one another , the conflict of volumes, to conflict of masses of volumes filled with varying intensities of light , and conflict of spaces" Nitin Sawhney stresses the importance of conflict in Eisenstein's films.
Sawhney adds that "conflicts may create a chain of associate links that may yield psychological responses and hence an emotional dynamatization of the subject. Each montage fragment evokes no more than a certain association -it is nearly abstract, yet the reconstruction of such associations creates the emotional effect on the spectator and the 17 N.
Sawhney Finally an intellectual dynamatization is developed by comparing the montage fragments to their signifying connotations.
Eisenstein says that the 'decision to release these ideas, as well as the method used, is already intellectually conceived. David Bordwell shows the Eisenstein's methods for building the structures in the films and spectator's responses.
He finds Eisenstein's works as "provocative reconceptualizations" We can agree with this point, because Eisenstein's films encourage intellectual and emotional involvement. Raymond Spottiswoode's book is very important source to understand Eisenstein films, film analysis, and differences between commercial films and art films.
He states that "the commercial film of today is the result of the interaction of personal and economic factors" At the first part of his book, he explains synthesis in film and analysis as: "The analysis is an analysis of structure The synthesis determines the analysis, and the analysis the synthesis 24 ".
Gerald Mast and Marshall Cohen's book uses the films for comparisons and ideological explanations. They show the significant points of the films from spectator's viewpoint Our focus point is to find the relationship between the use of conflict theory in his films and the responses of audience.
Eisenstein's cinema theory includes many ideological and psychological segments. The Cinema of Eisenstein. Spottiswoode A Grammar of the Film. Cohen Eds. Film Theory and Criticism. Third ed..
New York: Oxford University Press. Rhetoric analysis is helpful for us to see the relationship between editing and conflict theory, and their resulting meaning. Rhetoric analysis is helpful to examine Eisenstein's film theory for creating meanings. It is also helpful to look at theory from many ways.
Textual analysis is a standpoint for us to see if we can interpret director's behavior and intention toward the conflict theory.
Visual analysis is also necessary for us and the sample audience to examine the Eisenstein's film, 'The Battleship Potemkin' and a commercial film. Interviewing is used for gathering the sample audience's responses. The goal of interview method is to gather respondents' answers as soon as possible after watching films.
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