Week Three: Soviet Montage School

In Film Theory & Criticism by Leo Braudy and Marshall Cohen Pudovkin says that original filmmaking comes from putting together shots. Narrative events of the film are told through the director’s understanding of the past. Editing is the source to well-defined truth of the film. The chapter on Pudovkin’s part on editing contains many examples as well as terms on the features of editing in film. Pudovkin talks about different camera angles such as “close-up” and “long shots” that differentiates one scene from another. Pudovkin talks about a situation where he breaks down the steps of editing; “1. The observer looks at the first man. He turns his head. 2. What is he looking at? The observer turns his glance in the same direction and sees the man entering the gate. The latter stops…” In other words, these accurate shots are quick and on the spot, but their meanings go deeper than that.  Such shots as the close-up or long shots are there for a purpose to “direct…the attention of the spectator to that detail which is, at the moment, important to the course of the action…” The editing process is also critical because it puts the pieces together in the end. Editing is an essential part in the creation of film, in that, it allows the audience to make sense of what is going on, otherwise they would just be seeing a series of random moving images. Eisenstein is deeper than Pudovkin. Although they are both connected to one another, Eisenstein was more interested in appealing to people intellectually, while Pudovkin was more of an emotional kind of guy.

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2 Responses to “Week Three: Soviet Montage School”

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