Eisenstein Beyond The Shot

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Eisenstein also discusses intellectual montage as being conflict within a shot, rather than just the juxtaposition of two shots side by side. In “Beyond the Shot”, Eisenstein describes two specific sorts of conflict within a shot: “the conflict between an object and its spatial nature and the conflict between an event and its temporal nature” (88). The first one is used widely throughout the film, as well as in the casino scene. However, the second type of conflict within a shot is not used in the casino scene. The first, described as being “achieved through optical distortion” (88), is exhibited in shot 52. The camera movement in this shot helps to achieve this sort of conflict, as the camera both zooms in and tracks out at the same time while…show more content…
It starts at shot 48 where the shot is about four seconds in length, and the shots gradually get shorter and shorter, showing a rhythmic connection in the montage, until the shots are only one second long each from shot 59-62. The editing became more fast-paced as the screaming intensified after the music stopped in the beginning of this section, especially since from shot 54 until shot 64, the screaming is all the viewer can hear. It becomes even more complicated when one takes into account that all of the motifs in this scene are present in this one set of shots: the ball spinning, Lola screaming causing the glasses to shatter, and the number 20, all within the span of 16 shots – most of which are quickly edited together. In fact, this specific set of shots work together to prove the dialectical theory of the scene and possibly the entire…show more content…
The film uses the intellectual and overtonal montage, especially in the casino scene, to showcase the motifs of the film and elicit a response from the viewer that allows them to create meaning from these motifs and other recognizable conventions. This, in turn, created a dialectical meaning for the scene in relation to the entire film: once Lola was able to take control of her situation, she was able to save Manni. Run Lola Run ended up being an exceptional film to compare to Eisenstein’s theories, and there could be many more other possibilities in how to analyze this film in comparison to his other theories of
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