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