Dziga Vertov’s conception of montage is defined by a borrowed reference to music called the theory of intervals. In music, an interval is the difference between two notes and can be wide or short.
More than a mere parallel montage, Vertov’s montage using intervals consists in extending a filmic movement by using another shot placed in the same filmic continuity, even if this second shot has been recorded elsewhere or in another time. Like in symphonic music, with recurrent themes and patterns declined over the length of the musical piece, intervals in cinema enable to create plays of rimes and echoes, not only within a single film, but also in a whole cinematic production. Using the metaphor of music, film intervals could be used as gaps …show more content…
2. Main codes and patterns
The various theories of Soviet cinema may differ fundamentally, from the theater conception of Eisenstein to the documentary claim of Vertov, the importance of montage in orientating the film’s message remains constant. In this conception, montage is a major component in the formulation of a cinematographic language, a language made of rhetorical and idiomatical elements. Whether it is used to stand against the capitalist system, or to promote an ideal new society, the Soviet montage could be linked to some main recurrent codes and patterns of the Soviet cinema of the …show more content…
It is the French word used to describe the putting together of a scene. It portrays the manner in which the director chooses to shoot the film. This incorporates the camera, blocking, sound design, the use of colour. Blocking is where the director plans to place actors, objects and any other articles in relation to each other. It is also an action in relation to set or location. Another aspect is that the camera is placed in a position at high, low or far angles. Camera use in mise-en-scene identifies with the lens of choice, colour settings, the camera’s perspective, treatment of the space, also movements, coverage for editing and image
More than a mere parallel montage, Vertov’s montage using intervals consists in extending a filmic movement by using another shot placed in the same filmic continuity, even if this second shot has been recorded elsewhere or in another time. Like in symphonic music, with recurrent themes and patterns declined over the length of the musical piece, intervals in cinema enable to create plays of rimes and echoes, not only within a single film, but also in a whole cinematic production. Using the metaphor of music, film intervals could be used as gaps …show more content…
2. Main codes and patterns
The various theories of Soviet cinema may differ fundamentally, from the theater conception of Eisenstein to the documentary claim of Vertov, the importance of montage in orientating the film’s message remains constant. In this conception, montage is a major component in the formulation of a cinematographic language, a language made of rhetorical and idiomatical elements. Whether it is used to stand against the capitalist system, or to promote an ideal new society, the Soviet montage could be linked to some main recurrent codes and patterns of the Soviet cinema of the …show more content…
It is the French word used to describe the putting together of a scene. It portrays the manner in which the director chooses to shoot the film. This incorporates the camera, blocking, sound design, the use of colour. Blocking is where the director plans to place actors, objects and any other articles in relation to each other. It is also an action in relation to set or location. Another aspect is that the camera is placed in a position at high, low or far angles. Camera use in mise-en-scene identifies with the lens of choice, colour settings, the camera’s perspective, treatment of the space, also movements, coverage for editing and image