“The domain of art is not one in which the Party is called upon to command. It can and must protect and help it, but it can only lead it indirectly. It can and must give the additional credit of its confidence to various art groups, which are striving sincerely to approach the revolution and so help an artistic formulation of the revolution.” (Trotsky).
This conception of art by Leon TROTSKY reflects the mainstream position of the communist party toward the cultural and artistic life in Russia during the 1920’s. This decade of implementation of the New Economic Policy (NEP), which will serve as the period of reference for this essay, remains one of the most socially liberal and artistically prolific periods in the Russian history. An avant-garde …show more content…
Expressive montage is “based on the juxtaposition of shots, for the purpose of creating a direct and precise effect by the confrontation of two images.” (Martin) This montage expresses a feeling or an idea. It is no longer a mean but an end; it is not contributing to continuity but creates breaks in the viewers’ mind to influence them with the feeling or the idea. This type of montage is by nature widely used in silent movies.
The two types of montage are not well separated for example; a slow or quick montage is at the same time narrative but also conveys a psychologic …show more content…
James Williamson’s Attack on a China mission (1900) uses montage to suggest a change of points of view and to create a narration with a temporal continuity in different spaces, whereas Williamson’s Stop thief! is the first example of chase films using alternate montage.
2) Transparent montage vs forbidden montage
Another angle to define montage by its functions is its relation to reality. From the beginning of montage, a traditional idea, still prevalent today regarding montage and special effects, is that montage should not be detectable by the viewer: like the tricks of a magician, the montage must be transparent, a simple tool creating effects that must not be seen by the viewer. In this acceptation, montage helps by creating an illusion of reality.
Reacting and refuting the concept of a make-believe reality, French essayist and film critic Andre Bazin stated that some basic rules should be applied in terms of montage to ensure authenticity. These rules were developed by Bazin in a text called Forbidden montage (“montage interdit”) in
This conception of art by Leon TROTSKY reflects the mainstream position of the communist party toward the cultural and artistic life in Russia during the 1920’s. This decade of implementation of the New Economic Policy (NEP), which will serve as the period of reference for this essay, remains one of the most socially liberal and artistically prolific periods in the Russian history. An avant-garde …show more content…
Expressive montage is “based on the juxtaposition of shots, for the purpose of creating a direct and precise effect by the confrontation of two images.” (Martin) This montage expresses a feeling or an idea. It is no longer a mean but an end; it is not contributing to continuity but creates breaks in the viewers’ mind to influence them with the feeling or the idea. This type of montage is by nature widely used in silent movies.
The two types of montage are not well separated for example; a slow or quick montage is at the same time narrative but also conveys a psychologic …show more content…
James Williamson’s Attack on a China mission (1900) uses montage to suggest a change of points of view and to create a narration with a temporal continuity in different spaces, whereas Williamson’s Stop thief! is the first example of chase films using alternate montage.
2) Transparent montage vs forbidden montage
Another angle to define montage by its functions is its relation to reality. From the beginning of montage, a traditional idea, still prevalent today regarding montage and special effects, is that montage should not be detectable by the viewer: like the tricks of a magician, the montage must be transparent, a simple tool creating effects that must not be seen by the viewer. In this acceptation, montage helps by creating an illusion of reality.
Reacting and refuting the concept of a make-believe reality, French essayist and film critic Andre Bazin stated that some basic rules should be applied in terms of montage to ensure authenticity. These rules were developed by Bazin in a text called Forbidden montage (“montage interdit”) in