Unique Characteristics of Soviet Montage

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Soviet Montage Unique Characteristics of Soviet Montage Unlike Montage where by a combination series of short shots are edited into a sequence to condense space, time, and information, Soviet Montage on the other hand is a style of filmmaking that is evolved to immerse the audience in a story and disguise technique was turned upside down in order to create the opposite emotional effect to bring the audience to the edge of their seat, and in the case of the Odessa Steps sequence, to push the viewer towards a feeling of vertigo. In a simpler form, Soviet Montage combination series of short shots are edited into a sequence to create symbolic meaning. One main characteristic of Soviet Montage films is the downplaying of individual…show more content…
A nondiegetic element exists outside the story world. There is no connection between the slaughters of the animal. The use of such nondiegetic shots was a total direct portrayal of Eisenstein 's theory on intellectual montage creating effects through conflict such as the juxtaposing of shots that have no direct connection as all. It is also shown in a film called The Godfather, where killing scene was shown during the baptism of Michael’s nephew. The whole scene was to show the murder “baptize” Michael into a life of crime. Another example is from a film called Apocalypse Now, juxtaposing shot was used in the execution of Colonel Kurtz. Another example of contemporary films adopting intellectual montage would be In Boogie Nights, Dirk Diggler announces at the conclusion of filming a pornographic scene that he can "do it again". There is then a quick cut to a champagne bottle uncorking at a post-shoot party. This particular scene represents both ejaculation and Dirk 's celebratory initiation into the world of porn. In a nutshell, Souviet Montage involves editing as a much more pronounced feature than in German Expressionism. It explores the ways in which each shot gained intensified meaning from its relationship to the shots deliberately placed before and after it. For Eisenstein it is in the tension (or conflict) between shots that meaning is created. Montage cinema demands that audiences continuously search for the
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