1. EXPLAIN WHAT DIALECTICAL MONTAGE IS
A:
Dialectical montage is a process of superimposing, which
arises from the collision of one by one independent shots. These shots have spatial
depth, which means they are arranged longitudinally. And also because of this,
shots in dialectical montage appears on the top but not next to the former
one.
2. WHAT ARE CONTEMPORARY EXAMPLES OF DIALECTICAL MONTAGE
A:
Pudovkin’s “The End of
St. Petersourg” and “Mother”
Otzep’s “Living Corpse”
Dovzhenko’s “Arsenal”
Esther Schub’s “The
Russia of Nikolai 2” and “Lev Tolstoy”
Abram Room’s “The
Death Ship”
3. WHAT ARE THE OTHER KINDS OF EDITING THAT EISENSTEIN
DESCRIBES IN HIS
ESSAY?
A:
1.
Conflict of directions: Purely linear, “anecdotal”,
Retaining natural unity and anatomical correctness, an ideographic kind, Color.
2.
Dualistic Division: Sub-title and shot, and Shot
and montage
3.
Conflict of motives: Purely verbal utterance,
Gesticulatory expression, and projection of the conflict into space
4.
Conflict between colliding shots: Graphic
conflict, Conflict of planes, Conflict of volumes, Spatial conflict, Light
conflict, Tempo conflict, Conflict between matter and viewpoint, Conflict
between matter and its spatial nature, Conflict between an event and its
temporal nature, Conflict between the whole optical complex and a quite
different sphere
Nichols described the types of Documentary starting with the type that puts the emphasis first on the verbal commentary, using a narrator whom the intended recipient is the watcher in front of the screen, mostly News on television, which is called the Expository mode.
ReplyDeleteOn the other hand the poetic mode is the type that is done with some sort of an artistic declaration, with giving some particular emphasis on the lyrical and emotional feature of a historical events. Then the observational style, with no words, voice-over commentary, or any back-ground music, just actor act free from any direction from any filmmaker, and the participatory mode that put the subject in an interview with the filmmaker, and this allows the makers of the film to talk to the subjects in a formal way, then the reflexive mode with the observer is the main focus and is given that most attention, and speaking about the historical world, and it is done to change the point of view or the expectation of its audience, and last the performative mode where the filmmaker is a part of the documentary, raising questions about personal experience with emphasis on the emotional difficulties of a specific experience from the point view of the filmmaker.