Unlike Montage where by a combination series of short shots are edited into a sequence to condense space, time, and information, Soviet Montage on the other hand is a style of filmmaking that is evolved to immerse the audience in a story and disguise technique was turned upside down in order to create the opposite emotional effect to bring the audience to the edge of their seat, and in the case of the Odessa Steps sequence, to push the viewer towards a feeling of vertigo. In a simpler form, Soviet Montage combination series of short shots are edited into a sequence to create symbolic meaning.
One main characteristic of Soviet Montage films is the downplaying of individual characters in the centre of attention whereby single characters are shown as members of different social classes and are representing a general type or class imitating Marxist Concept which believe more on society rather than individual .For Instance, in Eisenstein's Strike there is only one character named individually in the entire film. This proves the theory portraying collectivism rather individualism to propagate how united are the people against whatever political climate in Russia.
The central aspect of Soviet Montage style was the area of editing. Cuts should stimulate the spectator. In opposition to continuity editing Montage cutting often created either overlapping or elliptical temporal relations. Elliptical cutting creates the opposite effect. A part of an action is left out, so the event takes less time than it would in reality. Elliptical editing was often used in the form of the jump cut. For instance, in Strike, Eisenstein cuts from a police officer to a butcher who kills an animal in the form of a jump cut. This is to indicate the butcher not being part of the story but should be able to create or make the viewer think about the relation and come to a conclusion as if the workers were slaughtered like animals in reality.
5 Methods of Montage:
Metric Montage
Number of frames will be used regardless of the series of event in every clip. It is normally used to appeal to the audience emotionally. The usage is rather basic and direct, includes a lot of quick cuts that makes one focuses more on the clips. Perhaps the best time to use this technique is in a suspenseful moment. The prime example of this usage is well portrayed in the film “October” (view below).
Rhythmic Montage
This technique is usually based on the length of the clips and how well would the transition flow along. It is commonly used to highlight a sorrowful or slow moving scene. The key word here is visual continuity. The best example can be found in the film “Battleship Potemkin” (view below).
Tonal Montage
It is the essence of overwhelming emotion. It used the emotional meaning of the shots, to emphasize a response from the audience in a more complicated manner than Metric or Rhythmic Montage. Relevant reference is found in the film “The Battleship Potemkin”, where audience can witness the death of a revolutionary sailor Vakulinchuk (view below).
Over tonal Montage
It consists of Metric, Rhythmic and Tonal montage to create its effect on the audience for a more complex effect. It usually gives an extreme view on certain scene and also a crafty way of looking a series of clips as to help the audience to empathize the situation rather than just conveying the message literally. It is best shown in a film called “Pudovkin’s Mother”, where the man are seen as workers walking towards a protestation at their own factory and later on, the protagonist uses ice to escape (view below).
Intellectual Montage
It is an alternative that portrays visual metaphor, it creates meaning completely outside the depiction, unlike continuity editing, where images are created in a smooth space or time. In general, ‘intellectual montage’ is when the image is not represented by a particular idea. Basically, it uses shots which, combined, emphasize an intellectual meaning. The effect is shown through conflict such as juxtapose shots that have no direct relationship. For instance, this can be seen in throughout the film “Strike” (view below).
In this film, cut of shots include striking workers being assaulted and a bull being butchered. This is done as metaphor to show how workers are being treated like cattle. The butcher is here a nondiegetic element. Anything that is part of the film story world is diegetic. A nondiegetic element exists outside the story world. There is no connection between the slaughters of the animal. The use of such nondiegetic shots was a total direct portrayal of Eisenstein's theory on intellectual montage creating effects through conflict such as the juxtaposing of shots that have no direct connection as all.
It is also shown in a film called The Godfather, where killing scene was shown during the baptism of Michael’s nephew. The whole scene was to show the murder “baptize” Michael into a life of crime. Another example is from a film called Apocalypse Now, juxtaposing shot was used in the execution of Colonel Kurtz.
Another example of contemporary films adopting intellectual montage would be In Boogie Nights, Dirk Diggler announces at the conclusion of filming a pornographic scene that he can "do it again". There is then a quick cut to a champagne bottle uncorking at a post-shoot party. This particular scene represents both ejaculation and Dirk's celebratory initiation into the world of porn.
In a nutshell, Souviet Montage involves editing as a much more pronounced feature than in German Expressionism. It explores the ways in which each shot gained intensified meaning from its relationship to the shots deliberately placed before and after it. For Eisenstein it is in the tension (or conflict) between shots that meaning is created. Montage cinema demands that audiences continuously search for the meanings created by the juxtaposition of two shots and can be seen as alternative to the dominant continuity editing style of Hollywood cinema. Putting shots A and B together does not result in AB but in the emergence of X or Y – something new and larger than AB. This moved the theory of montage on from Kuleshov and Pudovkin who believed shots are like bricks in the way they construct a scene. Kuleshov and Pudovkin aimed at linkage rather than conflict.
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