# 05

**Paper**

**Eisenstein,** "The Cinematographic Principle and the Ideogram";

**Burch, "Chapter 1," Theory of Film Practice***, "*

**Thesis**

* Combination of two hieroglyphics does not = sum but product
* Translate that into cinema, you have a montage that juxtapose with one another to create meaning
* The shot is no an element of montage but a montage cell. The collision of two pieces arises a concept
* Decoupage refers to the final form of a script; with all the essential information to execute it. It is a breakdown of a narrative into shots and sequences before filming.
* Decoupage third French meaning refer to what results when the spatial fragments / succession of spatial fragments excerpted in the shooting process, converge with the temporal fragments whose duration may be roughly determined during shooting
* Stitched continuity - temporal relationship (temporal ellipsis/ time abridgement) = closure; fragmented perception and meaning-making from fragments. Kinda like a black hole that distort space and time and warps you from point A to B

**So what? & Notes**

* Cinema can be compared to a comic book, where reading all the frames gives you the context of the narrative or into a single gestalt
* Disproportionate depiction of an event
* Montage is derived from our past experiences and ability to make sense of things by identifying patterns; with one single image, meaning is broadly debatable but as you introduce more elements into a montage; you kind-of insert more “clues” for a reader to derive a meaning.
* Montage concept is rooted in Japanese cinema
  * They adapt the spongy shapelessness of our own “inner” naturalism = psyche
* Flashback as a form of time reversal
* Match-cuts = certain rules had to be abided so as for viewer not to lose orientation
  * Eye-line match: when one exit left, must enter new space or contiguous from the right to maintain direction of movement

**Conclusion**