1. COM 320—History of the Moving Image Soviet Montage Movement 1917-1933

2. Defining Characteristics “Montage... as a collision of elements... Imitated the Marxist concept of the dialectic... ‘intellectual cinema’ attempts not to tell a story but to convey abstract ideas, as a political tract might”“Montage... as a collision of elements... Imitated the Marxist concept of the dialectic... ‘intellectual cinema’ attempts not to tell a story but to convey abstract ideas, as a political tract might”

3. Form & Style: Editing Most Important Narrative structure—social forcesNarrative structure—social forces

4. Form & Style: Editing Most Important Narrative structure—social forcesNarrative structure—social forces Large number of shotsLarge number of shots

5. Form & Style: Editing Most Important Narrative structure—social forcesNarrative structure—social forces Large number of shotsLarge number of shots “Kuleshov effect” of juxtaposed shots“Kuleshov effect” of juxtaposed shots

6. Kuleshov Effect— Possible sequences Essential KuleshovManipulation Condition 1 Condition 2 Condition 3 Condition 4 Condition 5

7. Form & Style: Editing Most Important Narrative structure—social forcesNarrative structure—social forces Large number of shotsLarge number of shots “Kuleshov effect” of juxtaposed shots“Kuleshov effect” of juxtaposed shots Maximization of dynamic tension through two opposing editing techniquesMaximization of dynamic tension through two opposing editing techniques –(1) overlapping editing

8. Overlapping Editing 123456789 1234 Angle A

9. Overlapping Editing 123456789 123445678 Angle AAngle B

10. Overlapping Editing 123456789 123445678789 Angle AAngle BAngle C

11. Overlapping Editing 123456789 123445678789 Angle AAngle BAngle C

12. Overlapping Editing Mission Impossible 2, John Woo, 2000:Mission Impossible 2, John Woo, 2000:

13. Form & Style: Editing Most Important Narrative structure—social forcesNarrative structure—social forces Large number of shotsLarge number of shots “Kuleshov effect” of juxtaposed shots“Kuleshov effect” of juxtaposed shots Maximization of dynamic tension through two opposing editing techniquesMaximization of dynamic tension through two opposing editing techniques –(1) overlapping editing –(2) elliptical (i.e., jump cut) editing

14. Elliptical (Jump Cut) Editing 123456789 1234789 Angle A

15. Form & Style: Editing Most Important Narrative structure—social forcesNarrative structure—social forces Large number of shotsLarge number of shots “Kuleshov effect” of juxtaposed shots“Kuleshov effect” of juxtaposed shots Maximization of dynamic tension through two opposing editing techniquesMaximization of dynamic tension through two opposing editing techniques –(1) overlapping editing –(2) elliptical (i.e., jump cut) editing Non-diegetic insertsNon-diegetic inserts

16. Non-diegetic Inserts--Examples Strike (slaughtered cow)Strike (slaughtered cow) Fight Club (peaceful forest, flames)Fight Club (peaceful forest, flames) A Clockwork Orange (explosions, hanging, vampire fangs)A Clockwork Orange (explosions, hanging, vampire fangs)

17. Non-diegetic Inserts--Examples Naked Gun 2-1/2Naked Gun 2-1/2 –12 inserts during sex scene: A flower openingA flower opening Raising of a pillar in ancient EgyptRaising of a pillar in ancient Egypt Rocket blasting offRocket blasting off Man putting a hot dog in a bunMan putting a hot dog in a bun Man being shot out of a cannon at a circusMan being shot out of a cannon at a circus Train going through a tunnelTrain going through a tunnel Oil rigs moving up and downOil rigs moving up and down A roller coaster going upside downA roller coaster going upside down A submarine firing a torpedoA submarine firing a torpedo A levy breakingA levy breaking FireworksFireworks A basketball being dunkedA basketball being dunked

18. Background In a commercial film contextIn a commercial film context Artistically, derived from Constructivism, viewing artwork as machine; montage; no elite artArtistically, derived from Constructivism, viewing artwork as machine; montage; no elite art However, commercial success was secondary to serving the national interest; a national cinemaHowever, commercial success was secondary to serving the national interest; a national cinema The development of a national cinema—the State Film School in 1919, under the control of the Narkompros (People’s Commissariat of Education)The development of a national cinema—the State Film School in 1919, under the control of the Narkompros (People’s Commissariat of Education)

19. See Handout--Flowchart of Soviet Montage Influences

20. Other Film Types in that Nation at that Time Very few domestic alternatives Surprising importance of imports (e.g., Thief of Bagdad ran for years)

21. Importance of Movement Although Battleship Potemkim was seen around the world, its main impact was later, and certainly limited to style/technique—the content was not widely imitated.

22. Important Practitioners Lev Kuleshov (1899-1970) & his workshop

23. Important Practitioners Sergei Eisenstein (1898-1948) (Battleship Potemkin, Strike)

24. Important Practitioners Vsevolod Pudovkin (1893-1953) (Mother)

25. Important Practitioners Dziga Vertov (1896-1954) (The Man with the Movie Camera)

26. Important Practitioners Lev Kuleshov & his workshop Sergei Eisenstein (Battleship Potemkin, Strike) Vsevolod Pudovkin (Mother) Dziga Vertov (The Man with the Movie Camera) Note that Kuleshov, Eisenstein, and Vertov were all film writers and teachers (i.e., scholars) as well as filmmakers.

27. The Death of the Movement Soviet Montage called “formalism,” too complex for the mass (Stalin) 1929 five-year plan called for centralization of film, control taken away from the Narkompros (Stalin again)

28. Current Influences and Applications? Editing!! – –See handout on Origins of Editing Styles and Techniques

29. end