Not Signed-In
Which clippings match 'Stairway' keyword pg.1 of 1
28 JANUARY 2014

Montage theory: the Battleship Potemkin Odessa Steps scene

"Montage––juxtaposing images by editing––is unique to film (and now video). During the 1920s, the pioneering Russian film directors and theorists Sergei Eisenstein and Dziga Vertov demonstrated the technical, aesthetic, and ideological potentials of montage. The 'new media' theorist Lev Manovich has pointed out how much these experiments of the 1920s underlie the aesthetics of contemporary video.

Eisenstein believed that film montage could create ideas or have an impact beyond the individual images. Two or more images edited together create a 'tertium quid' (third thing) that makes the whole greater than the sum of its individual parts.

Eisenstein's greatest demonstration of the power of montage comes in the 'Odessa Steps' sequence of his 1925 film Battleship Potemkin. On the simplest level, montage allows Eisenstein to manipulate the audience's perception of time by stretching out the crowd's flight down the steps for seven minutes, several times longer than it would take in real time"

(Glen Johnson)






1920s1925 • audience perception • Battleship Potemkin (1925)cinematic visual languagecontinuity editing • cross cutting • crowdDziga Vertovediting technique • film aesthetics • film montage • film sequence • ideological potential • juxtapositionLev Manovichmontagemontage theory • narrative design • Odessa Steps • parallel action • parallel cut • parallel editing • parallel textsequence designSergei Eisensteinshot reverse shotstaircasestairwaysteps • tertium quid • third thing • whole is greater than the sum of the parts


Simon Perkins
03 FEBRUARY 2005

Oskar Fischinger: Komposition in Blau

"Surfaces dominate in the abstract animated film 'Komposition in Blau/ Lichtkonzert Nr.1' (Composition in Blue / Light Concert No. 1). Colorful geometric figures are set in rhythmic motion. The music from Nicolai's 'The Merry Women of Windsor' is impressively visualized through a blending of form and color. Fischinger created wooden cubes and cylinders as three–dimensional animated models, approximately as tall as a cigarette, some of them painted and others covered with fabric. 'At first the set seems to reveal a room. But then the floor begins to reflect the geometric figures. Cubes perfectly–aligned in a row, forming a flat mosaic–like surface, tumble apart to form a stairway. In this perpetually changing universe, a cylinder pounds at the floor and sets off a series of waves, and a decorative, flat circle flies into the empty space. The beauty of the colored, geometric forms–a yellow rectangle descends gracefully into the frame–escalates to the frenzied magic of the impossible.'"

(William Moritz, Media Art Net)

Source: William Moritz: 'Oskar Fischinger', in: Deutsches Filmmuseum Frankfurt am Main, Optische Poesie. Oskar Fischinger Leben und Werk, Kinematograph Nr. 9, 1993, p. 42)



19353Dabstract animated filmabstract filmabstractionanimated modelsanimationblue • changing • choreographycigarettescirclecolourcolour and music • Composition in Blue • cubecylinderdesign formalismflat • form and colour • geometric figuresgeometric formsKomposition in Blaumosaicmotion designmusic videoOskar Fischingerpioneerrhythmic motionstairwaystop framesurface • three-dimensional • tumble • visual designvisual patternvisualisation • waves • wood • wooden cubes • wooden cylinders


Simon Perkins

to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.