An analysis of this film directed by Sergei Eisenstein and Andre Bazin.
Written in 2003; 1,179 words; 2 sources; MLA; $ 40.95
Paper Summary:
This paper explores, compares, and contrasts the theories of Eisenstein and Bazin, two of the most prominent figures in film theory. Specifically, the author examines how the two approach the use of montage (editing) to construct meaning in the mind of the viewer.
From the Paper:
"The groundbreaking contributions Sergei Eisenstein and Andre Bazin made to film theory cemented this pair's place in history as two of the field's most prolific figures. These men's ideas changed the face of cinema and their influence on subsequent generations of filmmakers cannot be denied. One area that dominates the theoretical musings of both writers is the idea of montage. While the two essentially agree on the definition of this abstruse concept, they diverge on how it works to construct meaning in the spectator's mind. Each theorist's discourse certainly has its intrinsic merit however, Bazin's theory proves itself superior to that of his Russian counterpart due to his desire to surmount the limitations of traditional, "analytical" montage and restore what the Frenchman terms "ambiguity of expression" to the cinema. Eisenstein, on the other hand, is so preoccupied with montage's effect on the viewer that he ignores other essential elements, such as Bazin's conception of the ?image,? that also play an important role in interpreting what is shown on the screen."
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