Vertov
Eisenstein's Soviet contemporary Dziga Vertov stridently criticized Eisenstein's commitment to narrative film. Nevertheless, Vertov obviously learned from Eisenstein and applied the theory of montage to his documentary ideal of presenting "life caught unaware." Vertov's The Man with the Movie Camera (1929) took montage to lengths beyond Eisenstein; indeed, Vertov's elaborate, often frenetic montage was unmatched until the era of music video.
Montage theory: Eisenstein, Vertov, and Hitchcock
2: Vertov & montage
1: Eisenstein & montage
3. Hitchcock & montage the Kuleshov effect
Eisenstein's Soviet contemporary Dziga Vertov stridently criticized Eisenstein's commitment to narrative film. Nevertheless, Vertov obviously learned from Eisenstein and applied the theory of montage to his documentary ideal of presenting "life caught unaware." Vertov's The Man with the Movie Camera (1929) took montage to lengths beyond Eisenstein; indeed, Vertov's elaborate, often frenetic montage was unmatched until the era of music video.
The Man with the Movie Camera is an encyclopedia of montage effects:
1. A graphic match: two consecutive images unrelated except by visual similarity: 2. Visual-linguistic punning: a montage playing on the similarity in Russian language of the words for eye and window, as well as the name of Vertov's experimental film group, the Camera Eye:
3. A movie poster with a man making a 'shhhh' gesture (earlier seen with the movie's title, A Woman's Awakening), followed by a shot of a woman asleep. The film later depicts this woman waking: 4. A lesson in Marxist economics: a montage traces the production process from a miner, to a power plant, to factory laborers using the power to manufacture goods (whose value, according to Marxism, is determined by the labor put into them):
5. Montage with an ideological message: Vertov intercuts shots of frivolous activities with visually matching shots of productive labor (including
Montage theory: Eisenstein, Vertov, and Hitchcock
2: Vertov & montage
1: Eisenstein & montage
3. Hitchcock & montage the Kuleshov effect
Eisenstein's Soviet contemporary Dziga Vertov stridently criticized Eisenstein's commitment to narrative film. Nevertheless, Vertov obviously learned from Eisenstein and applied the theory of montage to his documentary ideal of presenting "life caught unaware." Vertov's The Man with the Movie Camera (1929) took montage to lengths beyond Eisenstein; indeed, Vertov's elaborate, often frenetic montage was unmatched until the era of music video.
The Man with the Movie Camera is an encyclopedia of montage effects:
1. A graphic match: two consecutive images unrelated except by visual similarity: 2. Visual-linguistic punning: a montage playing on the similarity in Russian language of the words for eye and window, as well as the name of Vertov's experimental film group, the Camera Eye:
3. A movie poster with a man making a 'shhhh' gesture (earlier seen with the movie's title, A Woman's Awakening), followed by a shot of a woman asleep. The film later depicts this woman waking: 4. A lesson in Marxist economics: a montage traces the production process from a miner, to a power plant, to factory laborers using the power to manufacture goods (whose value, according to Marxism, is determined by the labor put into them):
5. Montage with an ideological message: Vertov intercuts shots of frivolous activities with visually matching shots of productive labor (including