فصل المونتاج ، المونتاج السوفياتي ٤-a .. كتاب فهم السينما

Stills from the real series. Thus the sensation of excruciating dengue is communicated via . Which shows us the details of a vehicle diving into the mud. Big shot of the wheel, mud, hands trying to move the wheel, tired faces, arm muscles pulling the wheel, and so on. As for Eisenstein, on the other hand, he wanted the film to be completely devoid of traditional continuity. He felt that Pudovkin's dealings were too bound by literal reality. Eisenstein wanted film to be as flexible as literature, especially in its freedom to draw metaphors without regard for time and place. Thus we see that the spatio-temporal continuity in Eisenstein's first films is completely broken, or replaced by a continuity that relies entirely on the director's intellectual argument.

The collision of two opposite elements (snapshots) should, as in the dialectic of nature, produce a qualitative leap, just as in literature. The connection of two opposing quantitative elements can produce a metaphor that may exist on a different qualitative level. Eisenstein's favorite examples were taken from Chinese hieroglyphs, where we find two compound physical characters that give an abstract idea: the
letter (knife) added to the letter (heart) meaning: sadness.

The letter of the word (door) added to (ear) means: eavesdropping

The letter (fam) added to the letter (birds) means: to sing

Even in his first feature film, The Strike of 1925, Eisenstein was intercut with shots of workers firing machine guns with images of bulls being slaughtered. The oxen were not literally on site, but the cutting was done for purely metaphorical purposes. There is a famous clip from the film Potomkin in which we see three shots of stone lions, one of which is sleeping, the second is awake and about to rise, and the third is standing ready to jump Eisenstein saw the stanza as an embodiment of the metaphor "the rocks themselves come together". The most extreme of Eisenstein's experiences can be found in his film (October) (also known as: Ten Days that Shook the World). It is a semi-documentary film that deals with the early stages of the 1917 revolution. The film is a good picture of Eisenstein's theories in application. In an advanced section of the film, we see a statue of the Kaiser being destroyed. Then, when the obedient commander takes hold, Kerensky describes this setback metaphorically. Verena shows the section of the statue in reverse motion. The statue is rebuilt before our eyes, and so we see the "temporary return of tsarism. Many of the shots of Kerensky in the Winter Palace are satirical. Also, for example, we see the shots of Kerensky placed alongside playing peacocks laden with jewels With the statues of Napoleon and so on. Despite the brilliance of many of these scenes, the problem with this kind of montage based on metaphor is its tendency to be ambiguous. Eisenstein did not see any real difficulty in controlling the spatial and temporal differences between film and literature. However, the two mediums use metaphors and similes in different ways. It is not It is difficult to understand what the metaphor means: he is afraid, like “a sheep,” or the more abstract metaphor, like “fucking time destroys us.” Both phrases fall outside of time and space. The simile was not located in a pasture nor the metaphor in a brothel. These comparisons, of course, are not meant to be taken literally. In cinema, these diagnostic methods are more difficult. Charlie Chaplin was able to express the analogy with the sheep at the beginning of his movie (Modern Times), but the metaphor of "fucking time" may be impossible to embody in the film because the material of cinema is the tangible things. In putting mixed scenes of trees in different seasons with pictures of prostitutes, we may find the cinematic equivalent of this metaphor, but it is doubtful that the audience can decipher this comparison. We have a number of offers Eisenstein's applications and theories in montage represent the ultimate extreme The distortion of real time and space is actually related to the fact that some of Eisenstein's techniques were not renewed until several decades later. Cinema theorists tended to concede largely to the Soviet line that editing is the cornerstone of all film despite the fact that filmmakers in the US, Germany and elsewhere such as Charlie Chaplin, Robert Flaherty, Eric von Stroheim and FW Myrna were making films that owed little Relative to the art of montage. These and other great realist directors eventually found a companion in the person of the Frenchman Andre Bazin, who established the counter-tradition in aesthetics, which is based on (preserving) real time and space.