This one is Montage Essay, âEssence Objectâ Type
Soviet Montage is a style of filmmaking that evolved over a short period of time in the Soviet Union in the 1920s. It is an approach to understanding and creating cinema that relies on editing or montage. It emphasizes the need for distinct, not necessarily continuous, juxtapositions that together show a greater continuity, create an idea, or evoke an emotional response in the audience. It is often compared to intellectual montage and other alternative concepts that are equally important. While Soviet Montage is often associated with black and white cinema, video, and other forms of imagery that rely on splicing, these are specific examples of a broader theoretical framework of the montage. Theorists who are often associated with Soviet montage are interested primarily in understanding how an image, or an assemblage of images, can produce meaning. French film theorist Andre S. Labov states that "Non-continuities between shots can be used to reveal gaps in time or space, or to establish the disorientating or dreamlike feel of irrational subconscious." This idea of the direct correlation between the ordering and duration of shots and the impact on the audience is a key element that differentiates montage from other forms of editing.
Keep in mind that your "WHY US" essay is not something that's going to come from your brilliant, beautiful brain, but it's a research essay. you're going to spend a couple of hours figuring out what it is about that school that you love, and how it connects back to you. Here's a simple way to organize your research. Fold a piece of paper in half, or on a Google Doc, create two columns.
Soviet filmmakers had ample opportunity to study firsthand Hollywood films of the 1920s and 1930s. What were the aspects of American cinema that were most attractive to the new filmmakers? Firstly, it was the strong narrative quality of Hollywood films. The Soviet filmmakers had felt that they were contributing to the development of an entirely new art form with a potential for infinite variety and were experimental in looking for innovative narrative and dramatic modes of presentation. Adherence to the classical dramaturgy of the well-made play of the 19th century seemed to the Soviet filmmakers a retrograde step, but a series of artistic and commercial failures led to considerable nostalgia for the narrative film and widespread skepticism about the capacity of the film to develop a truly socialist cinema. Short-term pacts with capitalist country distributors provided an inundation of American films and technicians in the mid-1930s, culminating in the Paramount plan negotiated by Litvinov during the period of the popular front. Although the plan was aborted by war, it showed that cinema was still regarded as an instrument of international cultural dissemination, and pressure from the USSR to legalize dubbing of foreign films was successful in 1940. Another attraction of Hollywood films was the high production values of studio films and the facility of producing films in a wide range of genres, both of which contrasted sharply with the policy of the Soviet industry after the early 1930s to put the emphasis on films with strong social content and their use of simplified sets and mise-en-scene because of the need to train large numbers of amateur actors and because the cost of professional performers and elaborate facilities was beyond what the often belatedly completed films could recoup. A direct copying of American narrative forms or internalization of American genres as norms was clearly not an option for the Soviet Union. American films, genre 2, almost entirely built around the traditional capitalist happy ending and many with a bourgeoisie or petit bourgeoisie character as hero, were seen by the Soviet Union as offering an ideology that was incompatible with the aims of revolutionary socialism. And though classical Hollywood narratives were often a complex chain of causality of the type urged by Pudovkin, there was a danger for the cause of socialist realism if USSR films were seen to be following the form of films that were the world cultural currency of the time.
Essay topic title: The âTranslatingâ College Essay Example
Influenced by Eisenstein's theories, Soviet Montage is based on the idea that editing is the chief instrument for film manipulation. It is not a theory of editing, but a theory of using editing for ideological effect. It stresses the significance of context in understanding an issue and promotes the idea that all elements of a film - the shots, the editing, the story, and sounds - should be composed around a single idea. Montage uses an assembly of image and sound, be it a simple cut or a complex narrative structure. Using this as a tool, Montage can make a statement on a particular issue and create an argument around it. Montage has been used for a variety of purposes, and in the hands of various filmmakers, it has been manipulated to create a whole array of effects. It ranges from Pudovkin's 'constructive' approach, meant to draw specific inspiration from each shot and focus on the coherence of the film, to the more 'intellectual' approach, for example in the films of Vertov, whose work focused on the conscious and subliminal effects of editing and camera style on an audience. Soviet Montage can be categorized into 5 different methods for editing: 1. Metric Montage is where editing is done strictly based on the number of film frames. The idea is to make the barest, most basic level of editing, drawing emotion or meaning from the sequence of images itself. 2. Rhythm then is more concerned with the length of a shot in relation to those that precede and follow. By altering shot length, rhythm can create a casual or violent effect. 3. Tonal Montage is where the editing is done to create different moods or tones throughout an entire sequence. This can be achieved in a variety of different ways, by using various shot and transition types, and also through the motion of the camera or style of framing. Harold, for example, was a specialist in filming people in events and dialogues, and through extensive use of tonal montage, was able to convey the character feelings of the era. 4. Overtone Montage builds upon the stylistic tonal editing and is the harmonization of image and sound to create a single overall emotional effect. It is an extension of tonal montage and is often difficult to distinguish between the two. 5. Lastly, Intellectual Montage is the combination of two separate images - one broken and one complete image - to give entirely different meanings. In doing so, it can manifest subliminal cues for the audience.
Classical American cinema was shaped by the great directors and the movies they produced during this era. They are mainly based around the type of film they made and what it contributed to the industry as a whole. The first of these is the genre of the film noir. Film noir was a natural progression from the crime and gangster films from the previous era and was aimed at the adult audience. It adopted various elements from these types of film, but the twisted or sometimes unseen morals and motives of the characters often gave the films a quite different feel. There was more emphasis on the psychological aspects of the story, and the style of telling this often went against traditional narrative structure and timeline. This darker form often did reflect the times. The country was going through a difficult period, the end of the Great Depression and the beginning of WWII. The anxiety from these times shows through in many films and not just the film noir. One of John Huston's classic thrillers, The Maltese Falcon, is often considered to be one of the first film noirs. Other notable mentions are Double Indemnity by Billy Wilder and Out of the Past by Jacques Tourneur. John Ford was one of the standout directors of the classical era. His work in westerns, both silent and sound, is a staple of American cinema. His films helped the evolution of the western genre and also promoted many enduring myths of the United States. One of his most famous films, Stagecoach, was one of the first westerns to elevate the genre from 'B' picture status. It received several Oscar nominations and instantaneously made John Wayne a star. Ford made several films with Wayne and is widely credited for giving the actor a persona and character that avoided typecasting. The Searchers is often regarded as their finest collaboration, a dark and complex tale about the futility of the quest, an idea largely alien to the western at the time. It was perhaps too dark for the 1956 audience, and Ford quickly reverted to making simpler and more idealistic tales of the west. But The Searchers has since been reappraised and is now considered a classic.
One of the key figures in Soviet Montage is Lev Kuleshov, whose work in editing and theory had a great effect on future generations of filmmakers. What became known as the 'Kuleshov effect' involved placing shots together in order to make the viewer draw an inference from them. He claimed that human perception was reliant on how shots were strung together and used the metaphor of a 'creative laboratory' in which he, in turn, used his actors as a trial and error system to see how different shots provoked different reactions in the viewer. "Mother" and "By the Law" with Pudovkin are great examples of Kuleshov's effect, marking his peak in the montage movement. Closest to Pudovkin was Sergei Eisenstein, who is perhaps the most famous of all the Soviet Montage filmmakers. Holding views that were largely based on Marxist theory, Eisenstein depicted social and political messages within his films. His first project was that of "Strike," a propaganda piece about a workers' strike in pre-revolutionary Russia, but he is most famed for his work on "The Battleship Potemkin." Regarded as a propaganda film celebrating the 20th anniversary of the 1905 revolution, "Potemkin" depicts a mass of uncontrollable power and the victims of that power as the people of Russia. Using hidden messages and metaphoric meanings throughout the film, "Potemkin" is a prime reason for why Eisenstein became such a figurehead for Soviet film. Today, Eisenstein's theories are what define Montage, but it is arguable that he never, in fact, found his peak as a director.
What are those opportunities? The Activities List. That's where you can do all your bragging, so you don't need to brag in your statement necessarily. The additional information section is the place where you can talk about any extenuating circumstances, any health issues, or that sort of thing. Therefore, you don't have to waste that time in your statement.
How to Brainstorm a Montage Essay
Lam further notes that the revolutionising of montage as a technique in film editing has happened over the use of five main methods of quick and fast-pacing editing, which have become necessary part of film continuity.
Thoughts on montage essay structure for Personal Statement
OPTIONAL: PEER REVIEW AND REVISIONEducator Note: We recommend all students get feedback on and revise their draft started in this session. However, s
Why You Shouldnt Use a Montage Structure for Your College Essay
Films constitute some of the most profound artistic and social commentaries of the 20th century. Being products of culture, films often embody the ideologies and values of the societies which produce them. Classical American Cinema and the films of Soviet Montage in the 1920s were no different in this respect, being very indicative of the sociopolitical environments from which they emerged. A History of Narrative Film provides comparisons of the two movements in this respect, concerning the way in which each respective film style fits into the particular political and social landscape of its era. Sergei Eisenstein once wrote that "The Russian Revolution did not create a new society. It destroyed the old one and is still in the process of creating the new society." This statement very well defines the nature of all American cinema from the 1920s through to the 1930s. During the era of the New Economic Policy (NEP) of the 1920s, Soviet cinema was still in a state of relative infancy, constrained by government regulations which in many cases stunted the artistic impulses of the filmmakers of the time.