Here are some notes on the film theory from Professor Kay Armatage:
Dialectics & Film Form
1. Constructivist belief that factors composing the individual image can be considered as dynamic elements flung together in tense juxtaposition.
2. conflicts within the frame.
Types of Montage
1. Metric montage -arouses the most primitive kinesthetic effect, such as the tapping of a foot, or rocking of the body.
2. Rhythmic Montage - triggers a primitive emotional effect
3. Tonal Montage - yields something of a higher physiological order, a melodic emotional response
4. Overtonal Montage - repeats at a higher level the motor effect of metric montage, since in music a thorough going organization of timbres will create emergent beats,
5. Intellectual Montage -triggers the spectator's concept forming processes, although these too must be seen as no less physiological than the other types.
George Marcus (1995) recommended Vertov for thinking about how to construct multi-sited fieldwork projects.
Dialectics & Film Form
1. Constructivist belief that factors composing the individual image can be considered as dynamic elements flung together in tense juxtaposition.
2. conflicts within the frame.
Types of Montage
1. Metric montage -arouses the most primitive kinesthetic effect, such as the tapping of a foot, or rocking of the body.
2. Rhythmic Montage - triggers a primitive emotional effect
3. Tonal Montage - yields something of a higher physiological order, a melodic emotional response
4. Overtonal Montage - repeats at a higher level the motor effect of metric montage, since in music a thorough going organization of timbres will create emergent beats,
5. Intellectual Montage -triggers the spectator's concept forming processes, although these too must be seen as no less physiological than the other types.
George Marcus (1995) recommended Vertov for thinking about how to construct multi-sited fieldwork projects.
Here's an Eisenstein clip:
