Eisenstein

Film Form
Eisenstein

A Dialectic Approach to Film Form: Being (a constant evolution from the interaction of two contradictory opposites) and synthesis (arising from the oppositions between thesis and antithesis) form the dialectic approach to film form, which is embodied in conflict (because art is always conflict according to its social mission, its nature, and its methodology). Human expression is a conflict between conditioned and unconditioned reflexes.

The Filmic Fourth Dimension: All cases of conflict must therefore include cases of a complete absence of conflict. Montage is the fourth dimension (the visual overtone) and only through montage can something that is not seen really be portrayed.

Methods of Montage:
Metric: The pieces are joined together according to their lengths.
Rhythmic: The pieces are joined together according to the rhythm accompanying the music, or the shot.
Tonal: a stage beyond rhythmic montage. In rhythmic montage, it is movement within the frame that impels the montage movement from frame to frame. In tonal montage, movement embraces all affects of the montage piece. Tonal montage is based on the characteristic emotional sound of the piece (the general tone of the piece).
Overtonal: the furthest development along the line of tonal montage.
Intellectual: montage of sounds and overtones of an intellectual sort (conflict-juxtaposition of accompanying intellectual affects).