An exploring montage as an element of film language

Mohd Jefri Bin Samaroon

In the years between the Russian Revolution and the rise of Stalin, Soviet filmmakers invented radical new ways of using film. They explored how images could be combined and contrasted to get ideas across, and how the rhythm and pace of editing and the use of music could stir emotions. The montage techniques they developed offer exciting and creative opportunities for filmmaker to explore the relationships between montage and film language.This research looked at the principles of Soviet montage, how these ideas are still used today, and how they can use montage in their own filmmaking.

Abstract

Film “language”• Film does not literally have a “language” (we are using the word as a

metaphor or comparison).– There is no basic linguistic unit, such as a word.– There is no formal grammar.

• Film does, however, make statements, so it works like a language.• The closest devices it has to a real language are:

– shots (could be compared to words)– scenes (like sentences) – sequences (like paragraphs)– However, these are often difficult to differentiate from one another:

• A lengthy shot can be considered a scene.• Statements can be made within a shot, using movement, focus,

color, camera position, etc.)

Two types of film “statements”: Paradigmatic and syntagmatic

• Paradigmatic: Everything that is seen in the shot (mise-en-scene) including how it is composed:–what to shoot– how to shoot it

Usually associated with realism.

• Syntagmatic (contextual)—usually associated with expressionism:– editing/“montage”

History of Montage• Herbert Zettl defines montage as “the juxtaposition of two or more separate event

images that, when shown together, combine into a larger and more intense whole”(319)

• Sergei Eisentein viewed montage as a kind of collision or conflict, that adjacent shots should relate to each other in such a way that A and B combine to produce another meaning C

• Vsevolod Pudovkin, montage was “the method which controls the ‘psychological guidance’ of the spectator”. He also views montage as a method of building, of adding one thing to another, it has a realistic narrative and has a deliberate, calmer pace.

• Lev Kuleshov (Kuleshov’s Effect : 1 + 1 > 2 The great formula of montage, Following the logic of dialects the sum of two parts is

bigger, if they are connected

Syntagmatic statements• Two images juxtaposed suggest a third meaning:

Two basic concepts of montage:Diachronic (chronological or linear):• One idea leads chronologically to the next:

• shot/reaction shot• dissolve to next scene• match cut

• One idea leads logically (in terms of how the story is being told) to the next: • Flashback/flash-forward

Synchronic (non-linear):• Two or more things appear to happen simultaneously:

• Parallel editing (“cross-cutting”): two scenes occurring at the same time (chase scene)• Two separate story lines that converge later (or maybe never—used often in serials)

• Scenes/shots may have no logical relationship but are juxtaposed strictly for emotional effect:• Sergei Eisenstein (Soviet filmmaker)• Can be used for fast action or excitement• Often used in TV commercials and music videos to hold viewer interest—

simply because movement in itself is compelling

Research Objectives• To identify the concept of film language and montage

itself• To understand the meaning of film language and method

of montage technique• To produce a short film by using film language concept

and method of montage technique• To validate impact of film language and montage

technique into a short film among filmmaker in Malaysia

Important of researchImportant of researchImportant of research

To explored how images could be combined and contrasted to get ideas across

To see how the rhythm and pace of editing and the use of music could stir emotions

To explore the relationships between picture, sound and editing(montage) with film

language

To looked at the principles of Soviet montage, how these ideas are still used today, and how filmmakers can use montage in their own filmmaking

Research Question

• Why montage technique important in film language process?

• How the affect of montage technique can influence the film language?

Scope of research Principal of Soviet montage Element/component of film language Silent film era 1920s Film era 1990s The important of use a montage into film

language

Research Methodology

• Qualitative Methods – Content Analysis (book, journal, film,film review, paper and magazine)

• Analising the meaning of a montage and film language• Analysing the elements of a montage and film language• Analysing the methods/principle of a montage• Analysing the Significance of a montage

-examine the style or characteristic of montage

Bibliography

• Loftland, J.,& L. (1984). Analyzing Social Setting. Belmont, CA : Wadsworth.• Andrew, D.J (1976). The Major Film Theories. An Introduction. New York : Oxford

University Press.• Zettl, Herbert. Sight Sound Motion : Applied Media Aesthetic, 299-332 and 355-

386. Belmont: Wardsworth Publishing Company, 1990.• Eisenstein, Sergei (1942). The Film Sense. Harcourt Brace and Company.• Eisenstein, Sergei (1949). The Film Form. Harcourt Brace and Company.• Wikipedia Dougles Glomery. Movie History : A survey. 1991• Bordwell and Thompson(Eighth Edition, 2008). Film Art: an introduction• Burn and Durran (2007). Media Literacy in Schools: Practise, production and

progression• Carriere, Jean-Claude (1994). The Secret Language of Film• O Sullivan, Dutton and Rayner(1998). Studying the Media: an Introduction

Filmography

• Strike (1920-an)• October (1920-an)• The Battleship potemkin’s(1920-an)• The Godfather• Il Buono, il Brutto, ill cattivo• Great Expectations, David Lean(1946)• Hamlet, Laurence Olivier(1948)• Romeo and Juliet, Baz Luhrmann(1996)• The Great Train Robbery