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History,Production Process,Cameras &Styles

History,Production Process,Cameras &Styles

Film History & Theory

Film History & Theory

• Ricciotto Camudo• Eisenstein• Kuleshov

• Ricciotto Camudo• Eisenstein• Kuleshov

CamudoCamudo

• Italian-first to detail thoughts on film theory

• The Birth of the Sixth Art, published as early as 1911,

• Argued that the cinema synthetized the spatial arts (architecture, sculpture and painting) with the temporal arts (music and dance).

• Italian-first to detail thoughts on film theory

• The Birth of the Sixth Art, published as early as 1911,

• Argued that the cinema synthetized the spatial arts (architecture, sculpture and painting) with the temporal arts (music and dance).

EinsensteinEinsenstein

• known for his creative use of Montages

• Famous film “The BattleShip Potemkin”

• Soviet Montage style and theory was founded by him

• known for his creative use of Montages

• Famous film “The BattleShip Potemkin”

• Soviet Montage style and theory was founded by him

Eisenstein Montage Theory

Eisenstein Montage Theory

• Style of editing offers discontinuity in graphic qualities,

• violations of the 180 degree rule, and the creation of impossible spatial matches.

• Style of editing offers discontinuity in graphic qualities,

• violations of the 180 degree rule, and the creation of impossible spatial matches.

Eisenstein Montage Theory

Eisenstein Montage Theory

• 180 degree rule • film editing guideline that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other.

• 180 degree rule • film editing guideline that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other.

Eisenstein Montage Theory

Eisenstein Montage Theory

• 180 degree rule

• Example of an action scene, such as a car chase, if a vehicle leaves the right side of the frame in one shot, it should enter from the left side of the frame in the next shot.

• 180 degree rule

• Example of an action scene, such as a car chase, if a vehicle leaves the right side of the frame in one shot, it should enter from the left side of the frame in the next shot.

180 Degree Rule

Einsenstein Methods of Montage

Einsenstein Methods of Montage

1.Metric2.Rhythmic3.Tonal4.Overtonal5.Intellectual montage

1.Metric2.Rhythmic3.Tonal4.Overtonal5.Intellectual montage

Einsenstein Methods of Montage

Einsenstein Methods of Montage

Metric - where the editing follows a specific number of frames, cutting to the next shot no matter what is happening within the image.

• This montage is used to elicit the most basal and emotional of reactions in the audience. ･Metric montage example from Eisenstein's October.

Metric - where the editing follows a specific number of frames, cutting to the next shot no matter what is happening within the image.

• This montage is used to elicit the most basal and emotional of reactions in the audience. ･Metric montage example from Eisenstein's October.

Einsenstein Methods of Montage

Einsenstein Methods of Montage

October -October -

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Einsenstein Methods of Montage

Einsenstein Methods of Montage

Rhythmic:Rhythmic:

• includes cutting based on time, but using the visual composition of the shots

• along with a change in the speed of the metric cuts to induce more complex meanings than what is possible with metric montage. •Once sound was introduced, rhythmic montage also included audial elements (music, dialogue, sounds)

Einsenstein Methods of

Montage

Einsenstein Methods of

Montage Example of Rhythmic montage:

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are needed to see this picture.

Einsenstein Methods of

Montage

Einsenstein Methods of

Montage Rhythmic : where there is three way dual : director Sergio LeoneMovie the good the bad and the ugly

Einsenstein Methods of

Montage

Einsenstein Methods of

Montage Exercise: 1. In groups of 3 or 4 create a story board using the Einsenstein Methods of Montage. You must use themes that are line with the Catholic Values. For example good vs evil. 2. The Story Board must have a min. of 15 frames. Totaling 30 seconds. 3. The story Board must have sound and video sections clearly labeled. (refer to chapter 4 in digital overdrive)4. This will be collected.