Workshop 7 - Montage Editing

Lev Kuleshov (1899-1970)

One workshop, led by Lev Kuleshov, attempted to discover the general laws by which film communicates meaning. Through a study of American films, as well as a series of experiments, Kuleshov concluded that the shot has two distinct values: 1. its value as photographic image 2. the value it acquires when juxtaposed with another shot - The Kuleshov Effect

The film was shown to an audience who believed that the expression on Mosjoukine's face was different each time he appeared, depending on whether he was "looking at" the plate of soup, the girl in the coffin, or the woman on the divan, showing an expression of hunger, grief or desire, respectively. The footage of Mosjoukine was actually the same shot each time. 

Montage Styles

Sequential Analytical

In Analytical montage you analyse an event for its thematic and structural elements, select the essential elements, and then synthesise them into an intensified screen event. One of the characteristics of an analytical montage is that the main event or its major theme is frequently implied, but not shown or otherwise made explicit, leaving it up to the viewer to imagine. 

The example above:

1. a girl riding her bike
2. another cyclist is seen crossing her path
3. her bikes in collision
4. A woman (her mother?) is helping - looks like no one was seriously injured

The main event (accident) was not shown for effect, engaging and forcing the viewer to participate in the event and develop a response.

When the placements of the events are switched around the overall interpretation of the montage can be read differently. 

The axample above shows the following order:

1. proposal
2. marriage
3. a baby
4. child is growing up and riding a bike

Another example above illustrates the same shots, but in a different order:

1. proposal
2. baby
3. child growing
4. marriage

Sectional Analytical Montage

Sectional montage isolates a section of an event or moment. It is achieved by producing a shot that establishes the context and sets the tone. The following sectional pieces add to this, going into greater depth. 

The shot above starts the montage from a student's point of view.

The picture above illustrates the same set of shots, but examines the moment from the perspective of the teacher, as it establishes his point of view first. 

Idea-Associative Montage

The idea-associative montage brings together two disassociated events to create a third principle concept. Similarly to the analytical montage, idea-associative montage has two types, comparison and collision. 

Comparison Idea-Associative Montage

This montage type compares two or more similar themes, however, combines them in a manner that expresses them differently. 

As demonstrated in the picture above, the two shots are representing the same theme, with the man and the dog both looking into the public bin. However, while the two events are similar, the comparison conveys how the man is living a dog’s life, scrapping over food. Highlighting the idea of desperation and the social degradation of the poor. 

Collision Idea-Associative Montage

This montage type clashes two similar, but opposing events to reinforce a basic feeling. An example would be a montage that juxtaposes a man eating out of a bin, in contrast to a man sitting at a table eating a buffet of food. It is a powerful and insightful type, yet a conspicuous one, which can both enlighten or involve the viewer sensitively. 

The video below, was produced by our group in order to presents three montage types - sequential analytical, comparison idea-associative and collision idea-associative montage.

Sergei Eisenstein

Eisenstein was a brief student of Kuleshov and was a pioneer in the usage of montage editing, arguing that it was the essence of cinema. His work on cinema came from an intellectual viewpoint, developing theories to communicate abstract ideas in a new and modern way. 

These are Eisenstein’s 5 methods of montage:

- Metric

- Rhythmic

- Tonal

- Over-tonal

- Intellectual 

Metric Montage

This is based purely on the length of the shot. This induces the most basic emotional response, whereby tempo can be raised or lowered for effect. An example of this would be editing that follows a specific number of frames, in conjunction with the physical nature of time. 

Rhytmic Montage

This is a lot like Metric, in that it involves tempo, but is more concerned with what’s inside the frame. Effectively cutting in tempo with the action. 

The cutting happens for the sake of continuity. This creates visual continuity but it may also be used in order to keep with the pace of the film. A good example of this is the the legendary car/train chase scene in The French Connection.

Tonal Montage

A tonal montage uses the emotional meaning of the shots. Not just manipulating the temporal length of the cuts or its rhythmical characteristics. The point of this is to elicit a reaction that is more complex than Rhythmic and Metric. An example of this is in one of Eisenstein’s films called Battleship Potemkin where the character ‘Vakulinchuk’ dies.

Overtonal Montage

An accumulation of metric, rhythmic, and tonal montage to synthesise its effect on the audience for an even more abstract and complicated effect.

Intellectual Montage

While the other methods focus on evoking an emotional response, the intellectual montage method is sought to express abstract ideas. It does this by creating relationships between opposing visual concepts. Intellectual montage editing was the method that most interested Eisenstein, claiming it was an alternate method to “Continuity Editing”. 

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