The practice of cutting according to the shot’s relationship to an intellectual concept. In the words of Eisenstein, “from the moment that overtones can be heard parallel with the basic sound, there also can be sensed vibrations, oscillations that cease to impress as tones, but rather as purely physical displacements of the perceived impression.”įrom this, we can take away that overtonal montage is the intermixing of larger themes (whether political or religious or philosophical) with the emotional tones of the piece through the use of metric and rhythmic montage. The practice of cutting according to the various “tones” and “overtones” of the shot. This one is even more abstract than tonal montage. These shots can be matched by both video and aural characteristics. Instead, it’s a combination of both metric and rhythmic montage to highlight any emotional themes that may be present at that particular point of time in your story. This type of montage is a bit more subjective in the sense that you’re not cutting towards any physical aspect of media. The practice of cutting according to the emotional tone of the piece. Each shot’s length derives from the specifics of the piece and from its planned length according to the structure of the sequence. This is the most commonly used form of montage. The practice of cutting according to the content of the shots, or continuity editing. The practice of cutting according to exact measurement, irregardless of the content of the shot. It was introduced to cinema primarily by Sergei Eisenstein But to understand why montages became a major component of Soviet cinema, we have to first look at how the industry got to that point. The term has been used in various contexts. The word ‘montage’ is rooted in the French language as a term to describe the connection of individual pieces, whether they be film, music or images, into a cohesive whole. Montage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information.
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