A DIALECTIC APPROACH TO FILM

FORM

GROUP 4 Dominique Alford

Sarah Woubneh

Kelsey Fitzsimmons

Shanera Leon

Sean Kneese

Evan Klein

SOCIAL MISSION

“…to cause the mind to think

and to question what its

seeing”.

NATURE

“the difference between what is real

and what is created”.

A montage is a basic element of cinema and established by Soviet film as the “nerve of cinema”

A montage is when single shots are placed one after another and the movement of these shots are said to create a rhythm

Known as the “epic principle” a montage is the means of unrolling an idea with the help of single shots

However the author does not agree. He says that describing a montage in this way means defining a given object solely in relation to the nature of its external cause

He believes a montage has more of metric relationship rather than rhythmic

In his opinion, a montage is an idea that arises from the collision of independent shots

“We know that the phenomenon of movement in film

resides in the fact that two motionless mages of a

moving body, following one another, blend into an

appearance of motion by showing them sequentially at

a required speed”

The author claims this description of blending has the

responsibility for the popular misconception of the

nature of montage previously noted

CONFLICT AND MONTAGE

Manifestation can mean that the shot is not an element of montage

or the shot is a montage cell.

In this formulation there are division of

Sub-title and Shot

Shot and Montage.

There are 3 different phases to the homogeneous task of

expression.

1. Purely Verbal Utterance – without intonation expression in

speech.

2. Gesticulatory Expression– projection of the conflict onto the

whole expressive bodily system of man.

3. Projection of the Conflict into Space – zigzag mimic expression

is propelled into the surrounding space following the same

formula of distortion.

TYPES OF CONFLICTS WITHIN THE FORM

CHARACTERISTIC

Graphic conflicts

Conflict of planes

Conflict of volumes

Spatial conflict

Light conflict

Temp conflict

Conflict between matter and view point – spatial distortion through camera angle

Conflict between matter and its spatial nature – optical distortion by the lens

Conflict between and event and its temporal nature – slow and stop motion

Conflict between the whole optical complex and different space

THIS WILL GIVE US AN

UNDERSTANDING OF THE FILM

PROBLEM

PICTORIAL SYMBOLISM

Symbols or photographs

The purpose of pictorial symbolism is to note important

details of film stories

Pictorial must be learned and deciphered and

depending on the meaning behind pictures and the

culture that created the pictorial

EXAMPLE PHOTO

EMOTIONAL DYNAMIZATION

Dynamization: Expresses psychology emotional in films that

becomes emotional dynamization

Symbolism: symbols that show emotional effects in the movie

Stylistic gesture

Harp sequences (Sad Results)

Purely dynamic (Positives Result)

Cutting montage- cutting images from movies

http://www.slideshare.net/shaneral/powerpoint-31866780

Eisenstein believed that nature’s eternal fluctuation is dialectical- the result of the conflict and synthesis of opposites

Dialectic approach is an approach to film form that presents an ideology by associating two opposing elements

Two separate concrete objects can be associated to create a symbol

Unlike painting that uses abstract lines and colors, film relies more on concrete images within the frame