Montage and Idea – Associative Montage

The content of this entry is taken from here .

The great formula of montage:
1 + 1 > 2
(Following the logic of dialects (thesis, anti-thesis and synthesis), the sum of two parts is bigger, if they are connected.

Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing (montage is French for “putting together”). Although Soviet filmmakers in the 1920s disagreed about how exactly to view montage, Sergei Eisenstein marked a note of accord in “A Dialectic Approach to Film Form” when he noted that montage is “the nerve of cinema,” and that “to determine the nature of montage is to solve the specific problem of cinema.”

While several Soviet filmmakers, such as Lev Kuleshov, Dziga Vertov, and Vsevolod Pudovkin put forth explanations of what constitutes the montage effect, Eisenstein’s view that “montage is an idea that arises from the collision of independent shots” wherein “each sequential element is perceived not next to the other, but on top of the other” has become most widely accepted.

In formal terms, this style of editing offers discontinuity in graphic qualities, violations of the 180 degree rule, and the creation of impossible spatial matches. It is not concerned with the depiction of a comprehensible spatial or temporal continuity as is found in the classical Hollywood continuity system. It draws attention to temporal ellipses because changes between shots are obvious, less fluid, and non-seamless.

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.

Idea – Associative Montage

Idea – Associative Montage is one of the few types of montage. Here two unrelated events are juxtaposed to create a third meaning – developed in the days of silent film era to express ideas and concepts that that could not be shown in a narrative picture sequence. These fall under two categories:

Comparison montage

• These comprise of shots that are juxtaposed to thematically related events to reinforce a basic theme or idea.
• Silent films often would juxtapose a shot of a political leader with preening of a peacock’s shot to depict politician’s vanity.
• Comparison montage acts like an optical illusion to influence perception of the main event.

The Russian filmmaker, Kuleshov, conducted several experiments on the aesthetics of montages: to show the impact of juxtaposition and context – he interspersed the expressionless face of an actor with unrelated shots of emotional value like a child playing, a plate of soup, and a dead woman – the viewers thought that they were seeing the actor’s reaction to the event.

The television advertisements often use this technique to send forth complex messages quickly across to the viewers, e.g. a running tiger dissolves into a car gliding on the road – a hyperbole signifying car having the strength, agility, and grace of a tiger.

Collision montage

Two events collide to enforce a concept feeling or idea. The conflict creates tension.

Comparison Montage: These comprise of shots that are juxtaposed to thematically related events to rein enforce a basic theme or idea. Thematic related events are compared to reinforce a general theme.

In olden days these were used in silent films for example they would show a shot of a political leader juxtaposed with a shot of preening of a peacock to show that the man was very vain.

References:

R. N. S. (2008), Introduction to Montage, [online] available from < http://mediaelectron.blogspot.co.uk/2008/10/introduction-to-montage.html > [Last accessed 13/4/2015]