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Beyond the shot [the cinematographic principle the …
Sergei Eisenstein From Film FormBeyond the shot [the cinematographic principle the ideogram]Cinema is: so many firmsso much working capitalsuch such a ‘star’so many dramasFirst and foremost, montageJapanese cinema is well provided with firms, actors plotsTs’ang Chieh in 2650 BC, the first ‘contingent’ of hieroglyphsCopulation- the combination of 2 hieroglyphs regarded as their productCombination corresponds to a conceptThis is montage!Do in cinema, juxtaposing representational shotsThe starting-point for ‘intellectual cinema’Japan possesses the most laconic forms of poetry, the hai-kai the tankaFigurative effectThe hai-kai is a concentrated Impressionist sketchWe see these as montage phrases, montage listsFinished representation of another order, the psychologicalIn emotional termsBorn from a cross between the figurative mode the denotative purposeSharaku was the creator of the finest prints of the 18th centurySame Daumier whom Balzac (the Bonaparte of literature) in turn caled the ‘Michelangelo of caricature’We reassemble the disintegrated phenomena into a single whole but from our own perspectiveThis dual divergence in yet a fourth sphere – theatreThe theatre is in its cradle – present in parallel form, in a curious dualismThe denotation of the action is carried out by the so-called Joruri, a silent puppet on the satgeThis antiquated practice passes into the early Kabuki theatre, preserved to this day, as a partial method, in the classical repertoireThe shot, a tiny rectangle with some fragment of an event organized within itGlued together, these shots form montageThe shot is an element of montageMontage is the assembling of these elementsThe shot is a montage cellConflict between 2 neighbouring fragments: Conflict, CollisionA graduate of the Kuleshov school defends the concepts of montage as a series of fragments in a chain, ‘Bricks’ – expound an idea seriallyOpposed him with the view of montage as a collision, the view that the collision of 2 factors gives
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