Einstein's Methods of Montage

   Einstein developed what he called the "methods of montage":

1. Metric
2. Rhythmic
3. Tonal
4. Over tonal
5. Intellectual

Metric

• Editing follows a specific number of frames regardless of what happens to the image
• Suitable for simple match-time montages, works best for basic relationships between images e.g chaos vs shooting
• Used to elicit the most basal and emotional of reactions in the audience.

Rhythmic

• Good for portraying opposing forces
• incorporates more content than metric but still fairly regimented

Tonal (see video on the right)

• Uses the emotional meaning of shots
• Elicits more complex reactions and emotions from the audience

Over-tonal

• Cumulates metric, rhythmic and tonal montage to create an abstract, symbolic effect.
• Establishment of tone
• Connection of ideas

Intellectual

• synthesizes shots to elicit an intellectual meaning
• not just using literal meaning of shots; introduces ideas into the edit
• conflicts juxtaposition of intellectual effects
• Imagery, symbolism, film metaphors (e.g making a direct link between cossacks vs peasants and butchers vs cows)

26/2/13 Montage Editing notes

"[Montage is] the nerve of cinema... to determine the nature of montage is to solve the specific problem of cinema" 
-Sergei Einstein

What is montage?
   Montage simply means cutting in French. It is a technique in film editing where a series of short shots are edited into a sequence to condense time, space and information. See the montage below of Rocky and Drago training for their upcoming battle.

   Through the juxtaposition of contrasting images, the filmmakers establish Rocky as a resourceful, hardworking underdog character who does not have the luxury of accessing high-tech facilities and a professional team.

Soviet Montage Theory

Kuleshov believed that the juxtaposition of different images has the power to lead the viewer to reach different conclusions about the action in a film. Check out his experiment below:

Does the man's reaction ever change?

Einstein's Montage Theory

   Sergei Einstein believed that editing could be used for more than just showing a scene. He felt that the "collision" of shots could be used to manipulate the emotions of the audience and create film metaphors. He went one step further from Kuleshov, arguing that "each sequential element is perceived not next to the other, but on top of the other".

   Einstein's montage theory resonates with the rise of surrealism in the early 20th century. It violates the continuity rules, namely the 180 degree rule. Transitions between shots are deliberately obvious, less fluid, and non-seamless. It is argued that montage is inherently dialectical so that new ideas emerge from the conflict. It takes the audience out of their comfort zone of seeing smooth continuity editing and makes them question the style and purpose of the filmmaker's decisions.

23/2/12 Evaluating My Film

   After screening my film "An Unreliable Narrator", I took down some notes for the constructive criticism that my peers and Ms Wong offered me.

• Thoughtful cinematography (there was a deliberate attempt) e.g low to high tilt
• Innovative transitions e.g jacuzzi to sea
• Impressive exploration of idea 

However, there was certain aspects of the film that were unsatisfactory.

• The voice in the protagonist's head was confusing (especially in the beginning)
• A lack of portals despite good range of locations
• Background song during chase scene did not match the pacing

   I have responded to the feedback above by devising methods in which I could improve my film both stylistically, aesthetically and thematically. In order to clarify the plot (concerning the omnipresent voice inside the protagonist's head), we could've tweaked the sound design by muffling the voiceover to enhance its realism. We could also have done something about its pacing, matching the protagonist's action more accurately to make it look more convincing.
   In addition, we could've been more creative in using portals. Although we explored quite a lot of different locations ranging from parks to seas, we were merely cutting and were not very imaginative in the transitions. For example, we could've covered the camera with the costume before revealing the camera again but this time in a different location. Last but not least, the song choice was also not very powerful as it did not match the reality vs imagination theme and also lacked the pace to match the chase scene. Overall, I think our group did a considerably well job, our film's strengths being the cinematography and exploration of plot/idea.


Youtube link for the film: http://www.youtube.com/watch?v=Ruw7G7Cu_5E&feature=share

22/2/13 Final Reflection

   Having completed the unit of Twilight Zone, I felt that I should reflect on the knowledge and terminology that I have learnt, my co-operative and collaborative skills with my team members and also my growth as a filmmaker. My role for this semester was director, as my clear and strong pitch for my idea had convinced my classmates to vote for my artistic vision: a story that explores the hazy distinction between reality and imagination/illusion. I also tied in the inevitability of fate and free will through the protagonist's search for identity and purpose.
   Through the creation of this film, I have further learned and understood the concept of continuity editing and its importance in a film. In addition, I have also gained understanding of how to achieve continuity editing, whether it be smooth cuts or the emphasis on constant props and costume. Ms Wong has also taught me that mise-en-scène can be very important in enhancing the narrative of the film if it is deliberately chosen (for example using kid's playgrounds to resonate the theme of clowns). On top of that, I learned how to utilize and manipulate screen space to render the transitions from one portal to the other as natural as possible to the viewers.
   Since I was the director for this film, I had to exercise my leadership and organizational skills during pre-production, shooting and post-production. For example, I had to contact possible actors (after having first considered how they would fit their respective roles) before negotiating film dates with the editors to achieve a balance between having enough time for pre-production and post-production. I also found myself constantly reminding my group members/actors to bring their costumes and props to ensure our shooting was as efficient as possible. I also had to make key decisions and resolve conflicts between and within group members/actors. For instance, when we got kicked out of a planned location by the building's manager, I decided to explore the building just a few blocks away where the alley way was just as dark and desolate. Nevertheless, we all gave advice and help to one another when we had difficulty (as communicators in the IB profile), and as a result our teamwork was excellent and all learned something from each other after this unit. Not only did the powerful and influential role of director hone my leadership skills, I also grew as a filmmaker as I went through the key procedures (such as planning and supervising) of directing a film that represented my artistic vision.

Dedicated actors who braved the freezing sea as one of our portals. We later bought them a delicious lunch to express our gratitude.

22/2/13 Feedback from Screening our Films

Max, Robert, Star, Wilson

• Interesting transition in intro
• Camera too shaky at times
• Portals very well done 
• Music contributed to intense atmosphere, matched pacing and narrative

Marisa

• Some editing was not very smooth, pacing was off
• Should have built up to the chase
• POV shots were innovative but sometimes excessive (duration too long)
• Locations were limited and school uniform undermined the narrative (costumes and mise-en-scène can play a very big part)

Alwin, Allissa, Charlotte, Bryan

• Music transition not smooth from one song to the next
• Nice framing, but have to keep subject in frame 
• Great twist at the end; powerful plot and narrative
• Deliberate use of colour scheme and mask
• Some cuts were quite choppy
• Stylistically incoherent: some locations did not match with theme/world of toys

Erik, Travis, Jacob, Henry

• Very twilight Zone styled: great homage to the Rod Serling intro
• Sometimes the sound was inaudible, covered by the wild sound but overall great sound design that contributed to the sombre and mysterious atmosphere
• Interesting idea but perhaps could have been reinforced by chase scene

Reflection 4/2/13

   Having already filmed the opening scenes and all of the portals over three shooting dates, our film group worked on editing and sound design in today's film class. Our editor had already transferred the footage onto Final Cut Pro, but we still had to select the best clips and trim them before inserting the sequences into the timeline in chronological order. In addition, I had to help the sound designer in matching the voice over narration with the protagonist's blocking since timing was crucial in exploring and expressing the themes and complex plot of this film.
   After the rough cut was completed, we showed Ms Wong our film to receive constructive feedback for improvement. She was impressed with the acting and the framing but she also wanted more precision in the sound design (the sound levels of voice over vs background music vs ambience) in addition to more location mismatch for smoother transitions and portals. We responded to this piece of feedback by working on the sound levels of the different video clips and also considering the different portals in which we could use in succession.