The simultaneous use of all the three above montages in a combination forms the overtonal montage creating conflict between the shots. Such type of scenes brings in emotional quality to film. The drifting piece of the cloth conveys the message of the fallen heroine. For example if the heroine of the film commits suicide after a huge emotional imbalance it is shown with drifting piece of cloth in the air that reaches the hero while he tries to reach. Tonal Montage concentrates on the emotion of characters that is sequenced with other shots. Each step taken forward shows the emotions of the group of protestors who are trying to flee from the soldiers pouring bullets. The relationship made with soldiers marching down the steps towards the protesters. The best example of rhythmic montage is “Odessa steps” from Sergei Eisenstein’s “Battleship Potemkin”, a Russian classic.
This type eliminates the abruptness and the unexpected jump from one shot to other. In contrast to metric montage, this style of montage focuses on the rhythm of the action taken place which is equal to the actual length of the shot. This type of montage is used to create a suspense and tension which is usually fast paced and has abrupt cuts that doesn’t have continuity but makes sense of the complete length of the shot. It is a simple montage style where the long scenes are shortened to a length called as ‘absolute length’ of the shots without affecting the essence of the original story or its emotion. Sergei Eisenstein categorized montage into five different types Eisenstein believed that more the conflicting the shots are the more it is intellectual leaving its audience in shock which also stirs their inner emotions. ‘Montage’ means bringing the conflicting images/shots together that gives a unique contrast leaving a shock and anticipation for the audience.
This effect can be better explained with an example from Kuleshov experiment where he juxtaposes shots from several films and edit it into a sequence that narrates its own story.Įisenstein who was also making his own experiments exceeded “Kuleshov Effect” giving out montage which is also called “Soviet Montage”. This effect is called as “Kuleshov Effect” which was the initial stage of evolution of montage. The primary principle of the montage style was invented by Lev Kuleshov in 1918 is bringing the shots that do not have any relation but makes a connection by what comes before and after the shot. The war and the restriction brought a change in the Soviet Cinematic style. With a strict control by the Government on film making and import of films it was in 1924, Sergei Eisenstein and Lev Kuleshov with other major directors like Diziga Vertov formed a group called “Association of Revolutionary Cinema” (ARC) which eventually broke up but with the aftermath of the revolution, it brought forward a style called Montage that made the world pay attention to their cinema. Soviet Cinema came to being from its painful post war experience.
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