This attention to language and symbolism is a primary component toward Eisenstein’s rationale of montage and the use of imagery to create conflict and eventually, meaning. It was precisely this “unusual” way of thinking that later helped me to master the nature of montage, and still later, helped me to comprehend the most recondite (obscure) in the methods of art,” Eisenstein writes in Notes of a film director (1946). “How grateful I was to fate for having subjected me to the ordeal of learning an oriental language, opening before me that strange way of thinking and teaching me word pictography. It is around 1920 that Eisenstein, fascinated by Kabuki theater, began studying Japanese hieroglyphs and memorizing words. This was short-lived as he withdrew from school to join the Red Army in 1917 and protect the new regime - Bolshevik - during the Russian Civil War. But, like his father, he gravitated towards a career in civil engineering. It is difficult to describe Eisenstein through any singular role - filmmaker, theorist, architect - as Eisenstein’s role in film history reflects a period of time where innovation in aesthetics, storytelling and technology came together from around the globe to transform the medium, and film art.īorn at the end of the 19 th century, he was fascinated with theater and the arts from a young age. The technique and theoretical framework behind editing yields a compendium of definitions, abstract concepts and methods that blend seamlessly - and in some cases, not so - into a narrative and promote forms of storytelling that are still being practiced today. It is a craft, much like any position within the media industry. ![]() They must map out, construct, tear down, reassemble and create works of art. Questions such as “can’t you edit that together, quickly?” or “isn’t editing the easy part?” place editors in a unique position to informally educate and promote their artistic abilities.Īll in all, editors are like architects. In post-production, there are often a lot of assumptions about editing. When looking at the theoretical approach to editing, one is encouraged to create meaning and understanding behind shot sequences that create a scene, tone and story. ![]() When looking at some of the most notable figures in the history of editing, such as Sergei Eisenstein, it is important to understand that the theoretical approaches to editing are just as important as the practical.
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