R-H-Y-T-H-M and _,.-''-.,_process

The subject of montage is subsumed by a larger discussion on collage and reconfiguring information. The process of capturing what is found to be {beautiful, ideal, true, etc}, destroying it, and reconstructing it is something I find very intriguing. This process serves as an opportunity to redefine and explore through "experience" as suggested in the heading quote by Goldini.
 This is why Eisenstein presents us with several methods of montage that have each emerged by addressing the effects/shortcomings of the former.

metrics => rhythmics => tonal principles => overtone

These are each distinguishable elements on a continuum of importance in montage.


Metric Montage : measurement > content

The simple relationships of measurement give clarity to the expression of relationships between parts.
 Eisenstien also mentions here  the capability of unification of film and audience through a "pulsation" which is noted when watching a flicker film. There seems to be scientific/mathematic force behind the momentum and experience of the piece.

Another nice mention in this segment is the sweet spot between simplicity and complexity.

simplicity {-------------|--------sweetspot---------|-------------}complexity

This is an interesting gauge to consider when trying to determine when a piece is done, or whether an idea has enough weight.

"I've Got Rhythm" - Charlie Parker/ arne3788

disjunct sense of measurement between montage and soundtrack

Rhythmic Montage: measurement = content

Film is defined by (the illusion of) movement. Movement is intrinsically related to rhythm.

What are separate/alternative rhythms found in everyday life>?
How can these be captured and (re)presented?
Is it most important to consider the specialist's perception of rhythm or the spectator's?
How great is the difference of rhythm between individuals ?

"Naturally" scene from Requiem for a Dream

synchronized visual and aural rhythm

Tonal Montage: emotional content ≥ all

Here, Eisenstien defines tone as a level of rhythm, where the central focus is on the emotional content of the montage that embraces all of its effects.

I found most interesting here, the notion of literally shifting tone with the influence of color

scene from "In the Mood for Love" directed by Kar Wai Wong

weep-worthy cinematography and editing.

Overtonal Montage: emotional coloring => physiological perception

Here, what is emphasized is the movement of the image directing the movement of the spectator.

Tuvan throat singing includes vocalizing an overriding tone that relates to a simultaneous tone

That's what makes it sound "boing-y"

Intellectual Montage: TBA

Very quickly, Eisenstien addressed the potential for development. One that addresses the class of the spectator (so important), but that which is addressed more clearly by Vertov in his desire to use irregularities to investigate phenomena, and a more abstract departure from previous strict representations. ("Jazz style", it's important here to recognize the influence of jazz during that time period, but also see it as an idea, rather than a genre locked in time. The benefit of this style of thinking is free-form that generates new ideas and possibilities)

"Shadow Theater" by Tigran Hamasyan