Montage

The term has been used in various contexts. It was introduced to cinema primarily by Eisenstein, and early Russian directors used it as a synonym for creative editing. Montage is a technique in film editing in which a series of short shots are edited into a sequence to reduce space, time, and information. While several Soviet filmmakers, such as Lev Kuleshov, Dziga Vertov, and Vsevolod Pudovkin put forth explanations of what constitutes the montage effect, Eisenstein’s view that “montage is an idea that arises from the collision of independent thoughts” wherein “each sequential element is perceived not next to the other, but on top of the other” has become most widely accepted. Eisenstein describes five methods ofmontage.
Over tonal/Associational – the over tonal montage is the cumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicatedeffect.
Intellectual – uses shots which, combined, elicit an intellectual meaning
Metric Montage- Described as absolute lengths of the pieces. Tension is obtained by the effect of mechanical acceleration by shortening the pieces while preserving the original proportions of the formula. This technique produces a quantitative effect that can be reduced.
Rhythmic Montage- This technique incorporates not only the metric composition but equally within the content of the frame is also considered. In this description Eisenstein states, “Formal tension by acceleration is obtained by shortening the pieces… but also by violating plan.”
Tonal Montage- This montage represents a stage beyond rhythmic montage. He continues, “It is not only movement within the frame, but movement perceived in a wider sense. This montage is based on the emotional sound of the piece.”