1/20/2024 0 Comments Define montage of attractions![]() ![]() ![]() He is the patriarch of the contemporary Soviet “poetic film.” Tarkovsky strongly opposed montage and believed that the basis of art cinema (film art) is the internal rhythm of the shot. 2Īndrei Tarkovsky is the most celebrated filmmaker of the 1960’s, 70’s and 80’s (until his death in Paris on Dec. The “montage of attraction” puts objects, ideas, and symbols in collision to produce an intellectual and critical response from the viewer. Eisenstein considered montage as the basis of art cinema (film art). ![]() The director composes separated filmed fragments into a whole and juxtaposes these fragments into an integral structure to achieve a rhythmical effect. Montage defines the way in which images are cut and assembled together. Soviet montage views movement and space as the distinctive characteristics of cinema as opposed to theater. Sergei Eisenstein is considered, if not the father of Soviet montage, its most articulate spokesperson. Soviet montage developed after the 1917 Russian revolution. To speak of Soviet-Russian cinema is to discuss the achievements of the old and new school of film making, and one can easily begin by comparing the works and theories of Sergei Eisenstein and Andrei Tarkovsky. The Russian new wave filmmakers are many, among them, Andrei Tarkovsky, Sergei Paradjanov, Alexei German, Tengiz Abuladze, Otar Iosseliani, and Nikita Mikhalkov. It is characterized by films about national history and WWII, social dramas, and poetic films. The Russian new wave began during the Post-Stalinist period, at about the same time as it did in the rest of Europe. During the Stalin period the Soviet film industry was under the control of the communist regime. The history of the post-Revolution USSR can be broken into three major periods: 1) Stalinist period (1927-1953) 2) post-Stalinist period (1953-1986) and 3) Gorbachev (and post) period (1986-). Several films from Tarkovsky’s later work will be examined for montage elements that support or contravene these theories. The purpose of this essay is to offer a Deleuzian time-image analysis of Tarkovsky’s montage theory of “ time-pressure,” foregrounded against the historical backdrop of Eisenstein’s montage of attractions. A Deleuzian Analysis of Tarkovsky’s Theory of Time-Pressure, Part 1 'cine-physics'īy David George Menard Volume 7, Issue 8 / August 2003 28 minutes (6965 words) ![]()
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