Oh Eisentstein,

Sergei.

Keeper of form and more.

Through dialectic imagination

With my mind you mop the floor.

Oh Eisenstein,

I do pray

To one day understand.

Tricky is your explanation

Of montage, slight of hand.

— — — — — —

In his book Film Form Sergei Eisenstein argues, in a dozen essays written between 1928 and 1945, that it is montage that is the highest form of expression within cinema and further more that it is cinema that is potentially the most expressive of all the arts. In the essay Methods Of Montage, written in 1929, he attempts to chronologically categorize and define the types of montage of which he sees five.

The first, Metric Montage, is a type of montage that relies solely on the rhythmic qualities of music, translated into film as the duration of shots. He poses that though it is effective in generating a simple excitement in what he describes as “the more impressionable members of the audience”, when Metric montage is used in a complex way to express something more intelligent (less subconscious) its effect is lost. He claims that the highest level of expressiveness that Metric Montage could achieve is “the same as that of a percussion and brass band playing a simple tune”.

In the second, Rhythmic Montage (confusing, I know…), The duration of the shots are not only determined by the physiological effect of their rhythm but also by the effects of thephysical rhythm of their content. Many movements that generate their own sense of rhythm may occur within a single shot. As Eisentein puts it, “Here, in determining the lengths of the pieces, the content within the frame is a factor possessing equal rights to consideration.” This form of montage has been mastered by many experimental animators and is the basis for abstract visual music.

His third, Tonal Montage, implies that montage can be made from the characteristic features of the shots This is similar to rhythmic montage but, instead of considering some moving parts within the frame, one would consider the overall feeling that a shot produces. He says, “If we give the comparative and emotional designation of ‘more gloomy’ to a piece, we can also find for the piece a mathematical co-efficient for its degree of illumination. This is a case of ‘light tonality.’ Or, if the piece is described as having a ‘shrill sound,’ it is possible to find, behind this description, the many acutely angled elements within the frame, in comparison with other shape-elements. This is a case of ‘graphic tonality’.” He goes on to say, “Tonal montage grows out of the conflict between the rhythmic and tonal principles of the piece.” Though it was defined in 1929, this is the form of montage that pervades cinema today. Through acting, scene, and rhythm tone is woven into dramatic tapestries of emotions and events.

Fourth he describes Overtonal montage. Imagine a piece with an overarching triumphant tone. This can be considered the principle tone. Within that piece one might sprinkle moments of uncertainty and doubt. These moments would function as a dissonant overtone that would generate a tension that would make for a more satisfying resolve (just as in music). The collision between these two elements generate an overtonal montage.

The fifth and most confusing progression of montage is Intellectual Montage. Here conflict arises between the juxtaposition of two ideas. What comes to mind is the music video for Devo’s song Beautiful World. Here the viewer is first shown a series of clips from the public archives of people being very happy and rich. Then they are shown a series of clips of people suffering. Then these are shown alternating. The effect of the montage arises from the juxtaposition of these conflicting ideas and it is quite powerful. Though we occasionally see instances of intellectual montage in todays cinema it frequently takes a back seat to less intellectual pursuits of tonal montage.

With my film I hope to achieve tonal montage through an application of metric and rhythmic montage. I will exploit the exciting qualities of metric montage and will insert into that framework a rhythmic montage that suits the constraints of the meter. I will use compositional juxtapositions within the shots of light and form to generate conflict. And, if successful, I will go one step beyond my goal to create an overarching tone that is in conflict with momentary tonal qualities within itself, or as Eisenstein would call it, Overtonal Montage. But Intellectual montage is not my pursuit. I do not wish to create a pedagogical piece of information for the viewer to watch and understand but instead I hope to create something more abstract. Something that someone might be able to relate to something specific and special to them. I hope to resonate within the viewer with their individual and personal perception. I hope to help them better understand how they see the world by abstracting the definite qualities of the world into montage.