Eisenstein’s Montage Theory

Eisenstein pontificates that all forms of art are built upon the foundation of conflict. Eisenstein elaborates by proposing three supposed truths about art. According to him, art exposes contradictions in the world, involves conflict between nature and personal expression, and utilizes montages as one of the fundamental elements of film. Eisenstein’s booklet focuses on the crucial elements of film, namely shot composition and montage.

Eisenstein supplements that the montage should not be quantified as rhythm because it opposes the montage, which relies on memory retention and spatial depth. In other words, rhythm does not create the montage. Instead, abstract concepts, such as the sensation of movement, are formed through the combination of memory and spatial depth. Conflict between juxtaposing elements creates the sensation of movement, and, by extension, rhythm.

Eisenstein demonstrates that the montage is not simply a sequence of shots that create rhythm. The montage is most effective when the filmmaker exerts the connection between memory and emotion as exemplified in Example 1 The Strike. Montages are a formulation of observable factors of an environment that collectively produce an audio-visual experience by manipulating optical and auditory senses to create conflict between time, color, spatial depth, and lighting.

Eisenstein’s assessment of the montage is fascinating. Previously, I viewed montages as a sequence of scenes. However, this booklet broadened my understanding of the technical aspects of montages. I appreciate the concept that montages can flourish when contrasting scenes are given the chance to clash. One aspect of the chapter that was unclear to me was the relevance of Japanese cinema. I understand that Eisenstein is attempting to illustrate the essence of montage through various examples including Kabuki theatre. However, I am not entirely certain of his main point since he only revisits the example sporadically. I assume that the topic of Japanese cinema relates to a wider discussion not broached within the sections of the booklet I read.