Soviet Montage and Realism

Soviet Montage and Realism

3.Soviet Montage

a.In Puedovkin's concept of constructive editing, he believed that juxtaposition itself should make a new point and form new meanings, instead of  depending on the actual shots to rely on its meaning through this juxtaposition. He disagreed with D.W Griffith methods of close ups, he thought they ruined the flow of the film and did not provide any meaning as well.In addition Pudovkin affirmed that montages, when used correctly where one of the best ways to convey the meanings in the hidden jumble of life.However these montages should use close ups rather then long shots because with close up's it easier to focus on details, unlike long shots, which he also believed related too much to reality. These ideas manifested when people saw the impact on which it made to audience when these rules were followed, many other film makers such as Hitchcock and Lev Kuleshov.

b.The Kuleshov effect was Lev Kuleshov idea that putting together shots and it be able to justify one action.He demonstrated that the actors or not the ones who create emotion within the audience, but instead the association with the juxtaposition.The Kuleshove effect is widely used today, a simple example would be a women, who is crying and obviously very emotional, the next shot would be a picture of a children. The audience is able to understand that the women is probably the mother of the kids and we can conclude that she is missing them at that moment. 

c. Eisensteinian Montage was expressed as constant change and the contrasting through opposites.In addition  the conflict of opposite was the cause for change.It was also expressed that good film relied on the edit and that shots should be incomplete. "Odessa Step" sequence shows this because in the film there is constantly juxtaposition from the soldiers who are shooting guns to then the next shot of people reacting and a crowd running away.Their are several juxtaposition certain characters and their the actions of the war.For example we see a child brutally shot and trampled on by the panicked crowed, we then see the appalled mother.

4.Andre Bazin and Realism  

a.Andre Bazin's frustrations with Formalistic film making was that he believed that the distortions of formalist techniques violated complications of reality. He categorized formalsit as conceited and manipulative.  Furthermore Bazin thought that he montage created simple ideology of life rather then a endless changing variable. Brazin also affirmed that overall editing destroyed the effectiveness of the film. More specifically, Classic Cutting he believed to have shot sequence that forces the audience to follow without them realizing the restrictions of it. He concluded that the viewers were not able to make their own meaning.

b. According to Bazin, realist should emphasize a concept of reality. It is the director's job to uncover art of normal everyday people,events, and locations. Filming should not just be recording an object, but it should not be a symbolic abstraction. In addition he believed if a filmmaker wanted to present two or more elements at the same time in one seen then they should follow the ideas of realism.

c.The techniques that realist used in their film making included  shots that were either wide or long, and the duration must be lengthy. Focus primarily consists of just deep focus, this allowed the director to show the audience all details, instead of focusing on just a few.Deep focus also allows the audience to become more creative because shots such as close ups makes the audience have special attention on a certain object or actor, and they are not able to on it themselves. Camera movement such as panning, craning, tilting and tracking are used rather then cutting to a different shot.

Realism, Classicism, Formalism Paradigm

Realism, Classicism, Formalism Paradigm 

1.The film "Arrival of a Train at La Caiotat" fully demonstrates Realism. The film is shot all in sequence shots  where the audience sees people waiting for the train and it finally appearing and then people getting off and on, all from a long shot with no edit.There is no movement of the camera and only one angle.However,  the composition of the shot is plainly set up, we are able to see mid-ground of the train and a background of the station and the hills behind it. 

On the other hand the film "Damsel in distress" is an example of Classicism, it offers a variety of angles for its time,we are able to see from a long shot to a median close-up.In addition, we see parallel action for several characters,by doing this they use continuity cutting, while the damsel is sitting there trying to get her chains off, the audience is able to see what the actions of the dog , the man and the passengers in the train are. 

2.The edit in  "Arrival of a Train at La Caiotat" , is all a sequence edit, where the film has no edits or cuts. There is one long shot that lasts all of the short clip, this is because it was one of the original films. We do not find any type of plot or significant characters, only the ones boarding on the train. The audience does not focus on anything else except the train simply arriving, and an abundant amount of people getting on.  

"Damsel in distress" uses classic cutting  to propel  the plot. When we first see the woman tied to the train tracks, she  whistles and we then see her dog come to the rescue. Furthermore, we also see Cutting Continuity, where see the the fluent  actions of the dog  getting the man to help save the damsel. We then see the man travel to the women, where the audience sees him  go on a journey to come save her, this is easily  understood through this editing, where we see the man ride on a bicycle  through several scenes, so by this we are able to figure out he  is  on his way to rescue her. 

3. The characters in the "Arrival of a Train at La Caiotat" are simply men and women just getting on and off the train, they had the role of extras in the film. Their was no specific person to be focused on, but rather a crowd was to be examined. For this reason all characters are equally portrayed, their is no protagonist or antagonist, this is due to realism utilized, the audience is not able to focus on anyone in particular to make a story on. 

In "Damsel in distress" we see several main characters, this includes are two protagonists, the women who is tied to the train track and the man who is trying to help her. The women's dog is a supporting character who helps both the two protagonists in their goal. We also have an antagonist, who is a man that chained the women, when the story is resolved we the man get caught by the dog and then chased by men. The characters on the train are flat characters who help propel the plot as well.  

Editing Concepts

Continuity Editing
Continuity Editing is a sequence of shots where the audience sees continuous action. This allows the cinematographer to show progression, such as simple  in a character running around the city.It gives the audience a clear meaning of whats happening.
Movement Match
Movement Match is when the action of the character is filmed in one shot and followed in the next.If the shots are not matched right after each other, the sequence will be jerky and very apparent. One other example of movement match would be if the camera were to move in the same direction as the shot.
Direction Match
Direction Match, or also known as maintaining screen direction, is when a character or an object is moving in one direction and we are able to see them clearly move from shot to shot with keeping the same direction. If the shots are not matched it will look as if the character is going in the wrong direction.
Eyeline Match
When characters are looking at someone in separate shots. The direction in which the characters are looking must be constant . For example. two characters are having a conversation, the person on the right must  look at the character to the left and the character on the right must be looking left, this must remain until the characters move positions.
Shot/Reverse Shot
Shot Reverse Shot is most typically used in conversation between to characters   usually using a over the shoulder the shot. While doing the shot/reverse shot you must make sure to follow the 180 degree rule.
180/Degree Rule
The 180 degree line is a pretend line between characters that allow the correct amount of space and placement of the actor.The camera has to only be on one side of the line to maintain screen direction.
Axis Match
Axis Match is when the angle in which the camera is shooting stays the same.If the angle changes it will appear as if the whole background as changed as well.An example of this might include first seeing a character  in a long shot, and then a medium shot, as long as it's along the z-axis.
Position Match
When the placement of a certain object or person does not change. In addition this person or object takes up  the same area of the shot throughout the sequence.
Graphic Match
A change in shots, where the two images are graphically similar  like a turning wheel and a cut to a spinning umbrella. Visual Effects can also be used with graphic match by contrasting graphics from one shot to the next.
Rhythmic Match 
Rhythmic match is placing two shots side by side that are moving at similar rates or speeds. Example of this would be a wheel turning as fast as a umbrella turning. They must be going at the same rate.
Jump Cuts
Jump Cut is a sequence of mismatched shots and are void from continuity rules. The background is often constant while the character is moving or the background is constantly changing while the character remains in the same position. This allows the audience to be a bit confused and some directors use jump cuts to focus in the medium.
Point of View
Point of View Shot allows the audience to see through the characters eyes. The viewer is able to see it as if they where the character, it can really connect the audience with the character.The Point of view shot is usually through the eyes of the protagonist.
Reaction Shot 
A reaction shot is one that comes after a point of view shot, that uncovers the reaction of a character from who we were looking through.
Parallel Action
Parallel action is when two sequences of shots are happening at the same time.This first line of action is usually different from the second line of action. Parallel action is often used when we see someone is danger, while we see the another person coming to the rescue.
Contrast Cuts
Contrast Cuts are when we go back and forth from two shots that are contrasting, this allows the actions to support the idea of the other.Overall two opposite images are contrasted.
Associative Cuts
An associative Cut is used for symbolic purposes to represent an object that are absent in the film's story, but relates to the first image.
Flashback
A cut in which the audience sees the future or the past that relates to the present plot.The flashback will sometimes use a black and white filter to further establish the flashback.
Shot Duration
It is the length of a shot, depending on how long a shot is, it is able to give off certain messages to the audience  For instance,short shots are used for violence and action while long  shots can be more calm or something the  needs to focus on.
Coverage
Coverage is a sequence that uses several angles,shots, and perspectives to demonstrate dramatic and emotional impact of the film.
Master Shot Sequence
Master Shot is a technique that gives the best coverage. includes shooting an entire scene several times from all different angles, then taking the better shots that demonstrate what is trying to be conveyed are used in the final edit.This is mostly used in a Hollywood style of shooting.Coverage
audience.








Realism
Realism started in primitive films that were basically long shots, where the duration of the shot and action were equal. Realism usually contains a sequence of shots that are long takes or only has one recording time.In addition the editing has not cuts at all or edits.

Classicism
Classicism utilizes Classical Cutting, which allows the audience to focus on an action by highlighting details of other actions. Classic Cutting is used to make film more dramatic as well as emotional rather then physical reasons.Lastly Classicism uses Cutting to continuity which helps events flow.

Formalist
Formalist is used when the director wants to control space and time in order to stimulate emotion, however this emotion does not always relate the the story. Formalist use thematic montage, where shots are put into sequences in relatively subject manner. Abstract Cutting is also used in Formalist, where we the audience sees no recognizable subject.

Classic Cutting
D.W Griffith, first developed Classic Cutting, he used several different shots. He would change from long, median close, and even used spectator's point of view throughout the film. He first used close ups to really demonstrate emotion that the actor is trying to convey. Furthermore Classic Cutting uses master shots to make tighter shots. Establishing shots are also used to show the audience setting and location, so it is easily understood where the scene is. Finally, Classic Cutting uses reestablishing Shots, which is used after a close up, where it goes into a long shot to remind the audience the importance of the relationship between characters.

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