Film the ‘unfilmable’ by using pacing and non-continuity theory.

Filmmakers to study: Sergei Eisenstein, Dziga Vertov, and Vsevolod Pudovkin.

Essential aspects inherent in a montage:

Establishes and keeps the pace
Evokes an emotional response
Exaggerates the emotional response through supporting and contrasting images.

Eisenstein’s 5 Types of Montage (by *Studiobinder):

Metric Montage: This can be inspired by the pacing of a musical score, AKA the meter. This is used to create a visual pace within a film scene by cutting to the next shot after a specific and re-occurring number of frames no matter what is happening on screen.
Rhythmic Montage: If the Metric Montage is used to establish a visual pace, then the Rhythmic Montage is used to keep to the pace, in both a visual and auditory sense.
Tonal Montage: The Tonal Montage is the use of two or more shots that support one another and build a theme, quite to the opposite effect of the Intellectual Montage.
Intellectual Montage: Think back to Kuleshov effect. This type of montage allows a filmmaker to communicate with the audience solely through editing.
Overtonal Montage: The Overtonal Montage is a sort of amalgamation of the four other types of montages: Intellectual, Metric, Rhythmic and Tonal.

Process

Development

First, generate a few ideas for a scene that you can incorporate into your short film due next week. There are a ton of examples that can inspire your story; some of my favorites are the Battleship Potemkin’s Odessa Steps, Psycho’s Shower Scene, and Raging Bull’s Ring Scene. Try to keep it very simple. Use one character (it can be you).

At this stage you might consider listening to a few of the copyright free music tracks to get your ‘creative juices’ flowing. I’m looking for you to use Classical Music that is Free of Copyright. This relates directly to the topic of Ethics that we discussed last week but also to the application of Law. Refer to the study guide, but also keep up-to-date on the changing copyright laws as you continue in your careers. Copyright is a moving target.

Preproduction

Then, write a *synopsis. It should include a very clear ‘unfilmable’ idea related to emotion or an abstract concept like the passage of time or distance. The opening sequence of Pixar’s Up shows the story of a decades long marriage (unfilmable) in just a few poignant minutes but you will have considerably less time and fewer resources to make your Soviet Montage, so narrow your focus to just one clear concept. If you want to convey an emotion like anger, you could cut to a shot of a boiling pot. A shot of falling rain could convey You should be able to describe in one word how your character feels in the scene (like the actor for Kuleshov’s experiment): Hungry? Sad? Mad? Anxious? Disgusted? Happy?

Production

Then, shoot it. Keep in mind all the formal element you have learned thus far: constructing composition to create 3D space, the exposure triangle, rack focus, finding light, and white balance. Treat every clip like a still photograph where you pay attention to all aspects of the the frame: NOTHING IN YOUR FRAME IS NEUTRAL. Know your settings and keep your camera steady. Plan each shot with a director’s storyboard. Use unexpected angles and varied shot sizes. You should have a minimum of 5 shots; no more than 10.

Post-Production

Lastly, cut it together. Consider the types of montage and make your edits according to Eisenstein’s theory. Consider how you can use cross cuts, pacing, and music to evoke an emotional response.

Import your footage and music to construct a sequence that both describes an unfilmable concept and evokes an emotional response in your audience.

*A synopsis is a short write-up that summarizes what the story is all about

Deliverables