A look at how the technique of montage draws the spectator into a film as a creative agent with a focus on montage sequences from various Soviet films.
Written in 2005; 2,049 words; 6 sources; MLA; $ 64.95
Paper Summary:
This paper explores the notion of montage within the film industry and the reasons it is used, be it political or artistic. It also looks into the role of the spectator in relation to montage by looking at the works of Russian film makers Sergei Mikhailovich Eisenstein, Dziga Vertov and Esfir Shub.
From the Paper:
"Eisenstein's next work 'The Battleship Potemkin' (1925) uses similar ideology to Strike; the slaughter of the innocent and the need for uprising against the Cossacks. Here he seemed to refine his use of symbolic montage to get the spectators participation in Battleship Potemkin even stronger; the civilians are seen as more desperate individually and the slaughter is unashamedly cruel. Again all characters are based on the typage use of character actors, so the unity of the victims and spectator is still held up. This also applies to the fact that each actor is not in the scene for long, so there is no main protagonist, the protagonist is the united people as a whole, inviting the spectator to side with them. "
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