Friday, August 26, 2011
Soviet filmmakers believed that montage gave cinema its art and power – that shots in isolation were meaningless, but intention emerged when shots were combined and juxtaposed together.
In the 1925 silent classic, “Battleship Potemkin”, Eisenstein further demonstrated that although an event might only take a few seconds in real time, its importance might be significant enough that it could – and should – be lengthened through editing. (Real time, of course, could also be condensed.)
In films made today, the viewer is rarely aware that an edit has occurred. Movie action, for the most part, is presented in a progressive and continuous manner. Editing theory, however, is useful in understanding the power and effect editing has on moviemaking. Many of Eisenstein’s theories are used in commercials which routinely juxtapose beautiful, happy people with soft drinks, cars, beer, and other consumer products.