![]() ![]() Against this tendency and in relation to the latter point, however, we also find in these essays an awareness of the possibility for ambiguous meanings and a search for ways to reduce or eliminate potential ambiguity. And on the axis of combination, the rules which allow such meaning to be generated, by the hieroglyphs, is also brought out where they are assumed by Eisenstein. A close analysis of such idea production, undertaken in this essay, reveals three possible kinds of ideas or mental representations: objects in reality, immaterial aspects of reality, and abstract concepts. Part of the reason for this is that he does not subject either the kinds of meaning or the process by which meaning is produced by these ideograms to an especially rigorous analysis, but rather makes general statements which, upon inspection, seem problematic. These essays, however, often feel more like brainstorming sessions then presentations of clearly formulated ideas. He seeks to explicate this process by applying to cinema the dynamics he found in the Japanese hieroglyph. A central concern in these works is how a series of images can, when correctly composed by the filmmaker and then interpreted by the viewer, produce an abstract concept not strictly present in each of the composite images. ![]() The great Soviet theorist and filmmaker Sergei Eisenstein explores the idea of creating an ‘intellectual cinema’ in three essays which were composed in 1929: Beyond the Shot, The Dramaturgy of Film Form, and The Fourth Dimension in Cinema. Eisenstein: ‘Intellectual Montage’, Poststructuralism, and Ideology Ideas on Montageīy Jason Lindop Volume 11, Issue 2 / February 2007 13 minutes (3231 words) ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |