Montage (filmmaking)

Find new theories within the practice of creation, following the natural way of thinking conditioned by emotional experience.

Eisenstein tried to transpose parallel montage from the sphere of action into that of meaning, juxtaposing over the frames that portrayed the Mensheviks giving dramatic and tear-jerking speeches a few imagines of hands strumming on harps and balalaikas. But the parallelism was purely literary, and for that reason, basically, un-cinema like, unrealized.

We stop the stringing of examples here… They took Eisenstein to the next step through which he sought the meaning of cinema. This was the "intellectual film" for which he campaigned for several years and on which the idea was based that: "Cinema is, above all else and essentially, montage." Because the very theory of intellectual film itself – whose task was to restore emotional plentitude during an intellectual process – was but a reduction ad paradox of this concept of montage.

And so, once again, the theory was born from the practice of creation. It was always Eisenstein’s natural way of thinking: from the emotional experience fund – through intellectual experience – to film – and from this, to theory. Even if his detractors only affirmed the existence of an inverse process in his creation and this too with the purpose of demonstrating its caducity. *

Can you make the transition to the emotional experience fund by using intellectual experience, a procedure specific to a creation that claims the term of perfection by practicing the parallelism?

The main aspect that characterizes montage is a creation that claims the term of perfection by practicing parallelism, from the sphere of action to meaning, when reality is revealed in the form of a mysterious experience that gives you the feeling that you have accumulated a lot of experiences during a lifetime. The director is an intrinsic consequence of faith in a compelling reality of the whole man, a reality that no one else foresees, and can be appropriated only by what he experiences at a certain point in life.

No matter how much an idea develops, being a key of the work achieved largely with the contribution of experience accumulated from the "seeking of essence", the scientific process of treating a particular subject – from intellectual activity to the emotional fund – it is manifested in the direction of using a certain style of giving yourself to development and demonstrating your authenticity.

Leadership, in the way you’re looking to discover the essence of new knowledge, which cannot be "programmatic", may result in this direction of researching the depths from which art draws its sap, assumed as an objective associated to the experience of creation, which first of all comprises of the emotional experience fund gained in one spectacular event of life.

The story of a director’s destiny follows the path of a thinking centered on certainty that translates the relationship between ordinary existence and aesthetic experience sufficiently active in an exceptional visual representation.

Basically, a king of attachment takes places between what you try to express and the meaning you attribute to reality, juxtaposing over it images and representations of the world, as contrasting as possible, from the present or from the past, Remember what Ana Blandiana said: "I have noticed that, as time is laid out, memories are not erased, but rather accentuate their contrasts, they lose the multitude of shades and tones of gray to retain only a strong drawing in whites and exclusive blacks."

The emotional residing from what you are when you put new experiments "on stage", in the middle of information additions triggering of "Wait" type states, in the middle of which is the man in which you are reflected, gradually becomes a sort of compromise between the ability to express yourself and the ability of the intellectual of changing certain perceptions vis-à-vis a certain event, phenomenon, profile or subject of study.

To put these experiments of reflecting one’s self in someone else or something else on stage is not only a product of thinking. Montage can be, as such, fueled by the "empathy" type of attitude – a form of guessing reality through affective identification.

Leadership is the coordinate of the momentum of discovering a new reality transposed into a masterpiece of creation that captures a certain emotion and conveys a sense of power and dynamism capable of enchanting, of producing addiction.

Montage highlights the interest given to the reconfiguration of the inner world, by reflecting an exterior image.

An exceptional leader takes on the role of an artist in using role play. He practices his authenticity by imagining his own version of the reality of facts, and playing them out in a content that reflects his style of thinking and feeling. Role-playing is a journey towards a different "forward" of your own person.

And what is a journey, said Ana Blandiana, if not an attempt to see how, otherwise, our soul remains the same? What is a journey if not an experience able to verify, through questions and comparisons, our power to reaction, to answer? Because, no matter how modest we would be, we cannot fail to see that what is truly important is not what we’ve seen, moving, but what we felt during that movement.

* Note - Ion Barna - Eisenstein, Youth Publishing House, 1966.