Eclectic & Serious Film Criticism

Mechanical acceleration increases a tension. Lengths of shots are shorter and repeated.
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Bertens, Hans. Literary Theory, The Basics. London: Routledge, 2001.

However, this is not to say that in the perceptual process there are not a variety of different kinds of representations at play. In the examples of the hieroglyphs provided, it is possible to distinguish two different forms of signification which correspond to separate types of ideas which need to be produced. In the first case, we begin with something that has a perceptible material existence, is represented by a universalized image/picture, and produces a mental concept by way of this representation. This is the case with a crying baby or singing bird. The second form of representation found in the examples arise in response to things which exist in the world but cannot be directly represented. This is the case with emotions. Anxiety is the only produced term in the list above which falls into this category. Because the feeling exits in the subject/person, as opposed to the object/world, the expression must be indirect (though of course the idea of a crying baby is also indirect insofar as it is not actually a crying baby). A common way of expressing this second kind of element is through a symptom it produces, such as a facial expression. In this case, the signifier would not be totally arbitrary because it is motivated by the signified, (though it would also not be a definitive expression because a number of emotions could in theory produce the same expression if the range of internal human emotions is greater that the possible contortions of the external human face). In summarizing this type of signification as outlined by the late semiotician Sol Worth, Dudley Andrew writes that “we do not decipher the code so much as we attribute meaning to what we sense. The signs of spring, as we call them, or of a coming storm, or of an illness are all natural signs by which we read nature.” (1984: 60).

Andrew, Dudley. The Major Film Theories. New York: Oxford University Press, 1976.
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Lehman, Peter. Ed. Defining Cinema. New Brunswick, NJ: Rutgers, 1997.

Eisenstein goes on to comment that in this process we see how “material ideogram set against material ideogram produces transcendental result (concept).” (96) The problem with this statement lies in the suggestion that the resulting image (crying baby) is of a qualitatively different nature from the composite terms (mouth + child). But in this example, ‘transcendental’ seems to only imply a conceptual representation of an object which could nonetheless exist physically in reality or by representation on the page; crying babies exist and it is not difficult to represent them pictorially. The difficulty arises because by this definition of transcendental the material terms baby or mouth also contain a transcendental component as the image they produce continues to exist even after the image is no longer visible. We still retain the mental concept despite the fact that the material signifier is absent, as would necessarily be the case in an edited sequence of these two terms, in which the second term would replace the first. The material must be transcendental if it is to retain in our memory and allow us to arrive at the final conclusion. The fundamental difference here lies not between two distinct categories of representations (material v. transcendental), but rather between two processes which leads to the conception of these mental images, between direct representation and implication. Eisenstein seems to imply that a difference in the way in which an idea is produced necessarily changes the categorical nature of that idea, but there are many instances in which this is not the case. In this example both the terms and their product are conceptual representations of an object. It may change the feelings the viewer associates with that image, but that does not change the ontological nature of the image, any more than concern or repulsion for a crying baby changes the fact that it is a crying baby.

Andrew, Dudley. Concepts in Film Theory. New York: Oxford University Pres, 1984.
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It is the furthest development of tonal montage. We can say that it is accumulation of all categories of montage. All stimulants in the shot. Eisenstein explained the way of evolution as category of montage. He claimed that

Bordwell, David. The Cinema of Eisenstein. Cambridge: Harvard University Press, 1993.
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Sergei (1994) Towards a Theory of Montage, British Film Institute

is a special variant of metric montage. In this category the length of the shot depends of the content. The content determines the length. The lengths is flexible. As an classic sample Eisenstein give us The 'Odessa Steps':

Cinémathèque Annotations on Film

In 1929 Eisenstein wrote . In this essay he explained what is an . According to him it is a montage by dominants. Montage by tempo, by duration of sequences, by foreground. . He divided montage for categories :

Soviet montage theory - Wikipedia

In this sequence Eisenstein used the comparison of subjects for thematic effect as a method of montage of attraction. In he explained that he uses this kind of montage to

Eisensteins Methods of Montage | staceylrowe

Throughout his writing, Eisenstein consistently refers to his goal as the molding of the viewer’s mind in a direction tightly preconceived by the artist. Indeed, early on in the 1920s he referred to the viewer’s mind as the raw material of cinema, with his initial investigations leading to an exploration of reflexology. By the late 1920s, his approach to this aim was moving towards the establishment of a so called ‘intellectual cinema’ and the related goal of understanding how images could be combined so as to provide the viewer with an awareness of abstract concepts. On a superficial level, such indoctrination by images would seem to arise by the ideas and values conveyed in the films. But in trying to arrive at a means of producing abstract concepts, and to limit the possible overflow of meaning, his writings hint at strategies which would establish not just the ideas to be thought, but also the mode of thinking, the grammatical code, which could produce these ideas. Such a code would function by establishing dominant values which could function as a kind of intellectual legend of various images. From the point of view of ideology propagation, this is perhaps a much more significant project than delivering mere slogans. In an kind of extreme version of an fictional history, one can almost imagine his proposed film version of as an impenetrable cluster of images to the non-indoctrinated, but a logical and seemingly obvious explication of Marxist principles to the people of the Soviet Union. This difference is between presenting the objects of thought and mounting the very processes of thought itself. While the former is overt and didactic, the latter is subtle and unlikely to even be detected by the viewer.