It is essential to the creation of narrative space and to the establishment of narrative time. Filmmakers and editors may work with various goals in mind. Traditionally, commercial cinema prefers the continuity system, or the creation of a logical, continuous narrative which allows the viewer to suspend disbelief easily and comfortably.
Development[ edit ] The word montage came to identify…specifically the rapid, shock cutting that Eisenstein employed in his films. Its use survives to this day in the specially created "montage sequences" inserted into Hollywood films to suggest, in a blur of double exposures, the rise to fame of an opera singer or, in brief Editing within digital filmmaking essay shots, the destruction of an airplane, a city or a planet.
In the newspaper one, there are multiple shots of newspapers being printed multiple layered shots of papers moving between rollers, papers coming off the end of the press, a pressman looking at a paper and headlines zooming on to the screen telling whatever needs to be told.
There are two montages like this in It Happened One Night. In a typical railroad montage, the shots include engines racing toward the camera, giant engine wheels moving across the screen, and long trains racing past the camera as destination signs zoom into the screen.
It plays with Italian theatre director Eugenio Barba's "space river" montage in which the spectators' attention is said to "[sail] on a tide of actions which their gaze [can never] fully encompass". He devised vivid montages for numerous pictures, mainly to get a point across economically or to bridge a time lapse.
In a matter of moments, with images cascading across the screen, he was able to show Jeanette MacDonald 's rise to fame as an opera star in Maytimethe outbreak of the revolution in Viva Villathe famine and exodus in The Good Earthand the plague in Romeo and Juliet Montages were done then as they're done now, oddly enough—very sloppily.
The director casually shoots a few shots that he presumes will be used in the montage and the cutter grabs a few stock shots and walks down with them to the man who's operating the optical printer and tells him to make some sort of mishmash out of it.
He does, and that's what's labeled montage. The directors and the studio bosses left him alone because no one could figure out what he was doing.
Left alone with his own crew, he constantly experimented to find out what he could do. He also tried to make the montage match the director's style, dull for a dull director, exciting for an exciting director. Of course, it was a most marvelous way to learn about films, because I made endless mistakes just experimenting with no supervision.
The result was that a great many of the montages were enormously effective. It originated in American cinema but has since spread to modern martial arts films from East Asia.
Originally depicting a character engaging in physical or sports training, the form has been extended to other activities or themes. The solution is a serious, individual training regimen. The individual is shown engaging in physical training through a series of short, cut sequences.
An inspirational song often fast-paced rock music typically provides the only sound. At the end of the montage several weeks have elapsed in the course of just a few minutes and the hero is now prepared for the big competition.
One of the best-known examples is the training sequence in the movie Rockywhich culminates in Rocky's run up the Rocky Steps of the Philadelphia Museum of Art. A notable parody of the sports training montage appears in the South Park episode, " Asspen ".
When Stan Marsh must become an expert skier quickly, he begins training in a montage where the inspirational song explicitly spells out the techniques and requirements of a successful sports training montage sequence as they occur on screen. The same song was later used in Team America: World Police in a similar sequence.The Art of Editing and Film Meaning Essay Words 7 Pages As one of the most celebrated and best known Soviet directors, Sergei Eisenstein’s theoretical writings and practical uses of editing are a crucial part of cinema’s development.
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Adam Lacey, for Film Ireland, talked to Patrick Drummond, Caoimhe Doyle and Giles Packham about that vital dimension of cinema: sound. ‘The last creative brushstroke that is put onto a film is the soundtrack.
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