Post-Soviet film theories relied extensively on montage's redirection of film analysis toward language, a literal grammar of film. In fact, montage is demonstrated in the majority of narrative fiction films available today. Alfred Hitchcock cites editing (and montage indirectly) as the lynchpin of worthwhile filmmaking. Its influence is far reaching commercially, academically, and politically. ![]() It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking.Īlthough Soviet filmmakers in the 1920s disagreed about how exactly to view montage, Sergei Eisenstein marked a note of accord in "A Dialectic Approach to Film Form" when he noted that montage is "the nerve of cinema", and that "to determine the nature of montage is to solve the specific problem of cinema". ![]() Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing ( montage is French for 'assembly' or 'editing'). Sergei Eisenstein (left) and Vsevolod Pudovkin (right), two of the best-known Soviet film theorists
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