The Expressiveness Of Montage

Give new values and new qualities to your creative operations by extending them from the sphere of action into that of significance.

American director D. W. Griffith seems to have been the first to understand the way in which certain film techniques could be used to create an expressive language, enhancing mood and tension. Griffith used, for the first time, consciously and wisely, the parallel montage of two converging actions. This, he had discovered the expressiveness of montage. But he stopped at this point.

Eisenstein, however, will go further. He will understand that, through their confrontation, two images give birth to a new notion. And we will meet, for instance, the altered image of the repression of a strike and that of the slaughter of cattle in a slaughterhouse, which together, thus joined, will express not two disparate facts, but the idea of tsarist police savagery. Eisenstein will broaden the scope of parallel montage found in Griffith’s works, giving it new values, new qualities through, what he would say, extending it from the sphere of action into that of significance.*

Are you able to capture a new nuance of expressiveness by producing a new product that express the idea of the identity of your own creation?

Leadership can capture that valuable spark of artistic intelligence (specific to brilliance), the power of realizing what research means, the strive to achieve something with difficulty and tenacity. It can be calculated to the extent to which a certain performance is achieved in using several different procedures of comparison between notions, real phenomena and the harmonization with different principles.

We use genius as a leverage appropriate not only to fulfill the duty of showing a powerful ambition, but rather, to the extent in which science and technique gain daily unprecedented victories, like a magic wand that, if it touches you, it is as if you suddenly know everything. Images that give rise to different notions must capture the truths of some facts or moments that have taken place, revealed by putting together the most relevant details and leaving the rest at the discretion of the viewers.

Expressiveness is the essence of a creation inspired by reality, fueled with the ease with which you communicate an idea by penetrating into the heart of an action meant to cause the interlocutor not only to imagine or to construct a mental image in the mind, but to translate it into practice, to find the means and resources of translation in fact.

And a new nuance of expressiveness is achieved when the image that you render by idea, or metaphorically revealed, becomes more credible than reality. The mastery of a director is included in the sum of the frames he captures in a series of moments that enrich the personal experience of the spectators.

Are you able to experience a new meaning of concepts that you assimilate by confronting two or more images of the same subject expressing separate facts?

Leaders always go further in their search for new scientific conquests, carrying in their own manner of interpreting an image a divided lot of expansive elements (facts or hypotheses). These elements, made off of the convergence of several sources of information, broaden the sphere of knowledge and, through this it reveals the basic characteristic of directorial individuality: the interest in giving a new quality to the relationship between reality and artistic representation.

The new meaning attributed to notions or to certain aspects of reality (wished to be highlighted through language), gives the outline of a certain style, of a certain structure of interest. This outline is obtained following an intervention of an individualizing order. You will only be able to experience a new meaning of concepts only by confronting two or more images of the same subject that expresses separate facts.

Any director treats reality as a mass of parallel universes in continuous multiplication, so that the images to which he gives life through the fine fabric of the individual make reference to evolution in rendering an effect of montage (shifting from one frame to another).

By confronting two or more images, a new notion is obtained that artistically highlights the hidden essence of a certain phenomenon of magnitude (as is the case of the clinical death metaphor that opens the vision of “plays of shadows” that hit the window of the mind designed to split reality from dream).

An image projected by the filming camera can be credible if it focuses on a series of moments and frames representing the unique experiences you are trying to experience at maximum intensity, with the specification that the effects are deeper and lasting due to what they manage to trigger in your brain.

The Expressiveness Of Montage captures the essence of creation that artists "direct". To grow in what you transmit is to manage to capture a new nuance of expressiveness, through producing a producing that expresses the idea of identity of your own creation. Leadership often leaves its mark on the way in which you dose what you transmit.

This product, which your informational culture must finalize, must be revealed through its extension from the sphere of action into that of significance. Meaning to admit a certain interaction with reality and, at the same time, an idealized intervention upon it.

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