Methods of Montage

Eisenstein begins by posing a question about the relationship between overtonal montage and the whole of montage. Eisenstein continues to describe the different types of montage beginning with metric montage. The main idea of this is that the shots are arranged by their length, and then repeats like musical measures. Tension can be created by shortening the length of each shot, Eisenstein says the shortening can me arithmetic, or orderly, or irregular and seemingly random. Eisenstein claims that the orderly one has a better effect on the viewer because humans prefer simple relationships. Like other authors, Eisenstein relates cinema to other forms of art. The effect on viewers does not have to be perceived as mathematical, although it can be measured, but instead gives a "pulsing" feeling to the film. Overdoing this effect causes chaos. Rhythmic montage is the next type of montage, where the content of the shot is considered as well. This method uses perceived length instead of actual length, and this is subject to the subject of the shot. Following something fast and following something slow for the same amount of measured time is different than the perceived time. This method does not work well for complex needs. Often this can confuse the viewer. The third type is the tonal montage. As the name implies this one focuses more on the tonal aspects. This means taking into account the emotions of a shot to determine the montage. One major example is that of light. Light often determines tone by either being gloomy or bright, this is known as graphic tonality. Changing focus and slight movements in an otherwise still shot also contribute to tone. This can be used to make things more intense, usually in a musical sense. This can also be used to highlight the contrast between scenes. Color is another contributing factor to tone. Overtonal montage is the fourth type of montage. This is essentially is the combination of the three before it. The overtone is compared to the main message of the film. Eisenstein claims that real film happens when all four types converge. Some of these are more brute when influencing the viewers, and some are more subtle or implied. Eisenstein notes that physical displacement can be felt through the proper use of montage. The final method of montage is intellectual montage. This is supposed to be using higher sections of the brain, and can convey meaning by varying how much intellectualness there is. Intellectual montage does not necessarily create intellectual cinema, that is done through combining science, art, and class.