Advanced Editing Notes: 3. Soviet Montage and 4. Realism

Soviet Montage and Realism are two forms of editing that Pudovkin began in what he called "constructive editing." This technique is stressed by the fact that each shot has a new point and through the juxtaposition of shots, meaning is created. His usage of close ups were put together to make a unified meaning, and thought long shots were to close to reality, so other details, more intimate ones should be focused upon. Pudovkin's concept of constructive editing included montages that were most effective in conveying the idea underlying the complex jumble of real life.

Kuleshov's was Pudoovkin's mentor and also heavily influenced Soviet film makers and the theories of Pavlov. He believed that ideas are created by smaller details to produce one unified action and details can be unrelated to life. His effect allows the viewer to create the emotional meaning, once the film maker or producer puts the right objects in the film. An example of this would be the actor's expression not changing or varying, but the objects within the shots vary to give the viewer a different effect without the actor actually changing their expression. Some comedic shows and films have this circumstance of cutting to convey the light-hearted mood even though the actor's facial expressions stay stagnant.

The Eisensteinian montage was about constant change and the contrasting of opposites. The conflicts of opposites is the root of motion and change. He believed each shot should be linked; needing the conflict of two and a new idea. His montage works with the Odessa Steps sequence because he strives for sharply contrasting images which essentially was like a collision montage. A bunch of changing shots and action leading to a new idea that supports the Odessa Step sequence.

Andre Bazin was an editor that helped establish the theory and language of film analysis. He was responsible for creating an approach to analyzing a the body of a Director's work in order to discern patterns in style and themes. He believed that editing could destroy the effectiveness of a scene. Distortions in using formalist techniques, especially thematic ediing, can violate the complexities of reality. Formalists were egocentric and manipulative.Bazin followed more of a realistic approach and applauded realism, saying it can only be achieved by varying shots instead of cutting to individual shots.

Realist film makers strive for shot variety and change the depth and angles of shots, so what we are seeing is not stagnant because shots that hold on the same individual shot or depth is unrealistic. Shot variety portrays what we as human beings see in real life close objects, far objects not everything in the same range or perspective, as unrealistic shots and films convey.

Techniques realists use are for example cutting back on editing as much as they can, use deep focus, work on sound realism, focus on shot variety; and all these techniques are being implemented and are easier to accomplish since technology is advancing.