Paul Thomas Anderson is one of the most innovative filmmakers working today, and it’s in “Magnolia” that we see one of the most well-crafted and expressive scenes in his filmography. Sydney Barringer’s unsuccessful suicide – Magnolia The rhythm of the montage takes us into the perspective of Andrew as the final extreme close-ups show us the looks of the opposing forces who are finally be redeemed to the look of the other.ġ4. This is the first half of the film the rest is complicity between them and the trance of Andrew. The scene is extremely dynamic and it shows how Fletcher slowly gets on the side of Andrew. “Whiplash” is constant confrontation between two characters and the last sequence of the film is the final confrontation between them, that in which one has to win. Without any further detail, here is a list on some of the best montages in film history. Some of these scenes are powerful because of one single cut, and others because of the rhythm they achieve through several shots. Relationships with which we can relate and thus experience emotionally. The point of Eisenstein is clear, that it is trough juxtaposition that film form relates its various elements, and that is precisely what the example of this list are going to display. He speaks about the way in which an ambiguous color such as yellow can acquire positive and negative implications depending on the way in which it is related to other elements. through a complex chain of juxtapositions. In this book called “The Film Sense,” Eisenstein uses comparisons with poetry, music and painting to explain how meaning is created through the way in which a film is structured, i.e. In this book, Eisenstein developed a more complex view on montage in which juxtaposition is not reduced only to a fragment of time, but seen inside each frame and in a double channel that was enabled by sound technology. The effect was that the viewer induced an emotional charge from the expression, not according to the expression itself but according to the image that was juxtaposed.Īfter the rise and fall of the Soviet cinema, Eisenstein wrote another book on montage, this time with the experience he had from making his films and the technological advances of cinema, such as color and sound. ![]() The experiments of Kuleshov consisted of using different scenes juxtaposed with a man with a neutral expression. One of the main theories around montages has been known since then as the Kuleshov effect, which consists of giving meaning to an image that lacks it through a juxtaposition. The view of the Soviets was criticized for being reductionist and neglecting others aspects of filmmaking, such as acting. The Soviet filmmakers alleged that montage was the main tool of filmmaking, and that it was through the juxtaposition of frames creating a “new meaning” that was greater than the individual frames. Montage has been the object study of many filmmakers, but their highest peak of interest in it was during the 1920s when with Sergei Eisenstein, Lev Kuleshov and Vsévolod Pudovkin (among others), the theory around montage was more deeply analyzed and practiced. The power of montage is limited only by the imagination of the team inside of the editing room. Thus, it becomes a way of creating dramatic structure and emotionally engaging the viewers of the film. Porter to Joshua Oppenheimer, and it is because montages enable them to structure time and space in forms that, while different from reality, express a deeper version of it. ![]() It a tool that has puzzled filmmakers from Edwin S. Montage is one of the main (if not the one) traits of film form.
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