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Montage--discusses his direction of "The Wise Man" and his use of taking a fragment of dialogue from one scene and leaping with it into the next scene, and also his making the diary film to be projected.Believes that a director should be well grounded in theatrical construction and the art of mise-en-scene (the first two years of the directing course in the State Cinema Institute emphasized this).A film school professor as well as an accomplished director, Eisenstein shared plenty of filmmaking advice over the course of his life, including the following six tips: This first tip comes from Eisenstein’s Notes of a Film Director, the entirety of which can be accessed online via the wonderful Media History Digital Library.
While his writings might be old, the spirit of his dedication to innovation and experimentation is exactly the thing that will keep cinema new and exciting for many years to come.
Editors should know them as vital working tools so they can be either incorporated or reacted against in any given film. Acting with an arm, or leg, breaking up the unity of the actor. Uses as an image the teaching of rifle handling to an illiterate recruit by breaking down the steps as opposed to the "spongy shapelessness" of naturalism.
See, for example, Satyjit Rays "Pather Panchali".)E.
Bi-sexual (at least: remark to Kenneth Rexroth after "Que viva Mexico! They will tell my mother and it would kill her if she knew.")Transference--the method of transferring the basic affective aim from one material to another ("..one category of provocation to another".
Nothing gets created from the tempestuous stream of creative energy unregulated by method. then wonderfully describes the course of thought in creating a screenplay. This has placed more weight on the ways in which shots can be combined: montage.
Eisenstein then traces his film career beginning as a theater director and experiencing the tension between the practical and the fictitious-descriptive principles.At the same time, he must be versatile in choosing the means for expressing his ideas.He must be sufficiently pedantic to know how to achieve the desired effect and at the same time liberal enough to accept unforeseen objects and means that are capable of producing this effect.” Biographer Marie Seton shadowed some of Eisenstein’s lectures at the State Institute of Cinematography in Russia (now known as the Gerasimov Institute of Cinematography) in the fall of 1934. Then you must try to find the form which will express the first vivid impressions which moved your whole being. Often deemed the “Father of Montage,” Eisenstein’s filmography includes such influential works as , remain seminal works in film theory. Griffith and Yasujirō Ozu, Soviet filmmaker and theorist Sergei Eisenstein was one of the most influential directors of cinema’s formative years.Tension obtained by shortening or lengthening the pieces while preserving the original proportions of the formula.Simple relationships are best because they give clarity of impression. Content is subordinated to the absolute length of the piece.The following are my notes on what I find to be his most useful essays for me as an editor. Nature--embodying a conflict between natural existence (organic inertia) and creative tendency (purposeful initiative). Hypertrophy of naturalness dilutes art into formlessness."THE FILMIC FOURTH DIMENSION" (1929) 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. These ways are analogous to two basic tendencies struggling in cinema: Kabuki's "disintegrated" acting.Transition from Rhythmic to tonal because of need to honor the dominant emotional tone of a piece."A COURSE IN TREATMENT" (1932) Study of cinema must proceed with the study of the theater.Only by critical comparison with the more basic early forms of spectacle is it possible to master critically the specific methodology of the cinema. Nothing gets created from pre-conceived methodological positions. This is E.s theory of the "inner monologue" and it is out of the tradition of stream of consciousness (see "Film Form: New Problems").