The diversity of formal experiments that have defined the various theoretical approaches to “avant-garde film,” “video art,” and “new media” are marked by a heterogeneity that makes the general grouping of practices as diverse as Eisensteinian montage and Tony Conrad’s Delicatessen and the commercial feature Close Encounters of Third Kind not only difficult, but an endeavor that borders on the absurd. This is my partisan sketch (fragmentary) of some historical continuities, not just between different avant-gardes, but between commercial media generally and those avant-gardes. This annotation of historical tendencies and approaches is focused on how disparate Formal claims made for motion pictures (film, video, digital) may be grouped so they present themselves as ‘categorical variations’ rather than ‘innovative ruptures.’ In this regard, the resulting essay is programmatic in its descriptions, inclusive as opposed to reductive (or “pure”). It is a matrix of potential avenues for consideration and development in my own work that may also be of interest to others. That is the first point I wish to make before addressing anything else: here is a distillation of my notes that constitute a general outline, a meta-practice, whose role is situative and not prescriptive. Up next is “The Kuleshov Effect Explained (and How Spielberg Subverts it.This essay is not a manifesto. We only touched on the Kuleshov Effect as part of Soviet Montage Theory, but in this next article we break it down in further detail with modern examples, including the work of Steven Spielberg. Soviet filmmaker Sergei Eisenstein, who was once a student of Lev Kuleshov, is credited with outlining Soviet Montage Theory through the five steps we’ve just gone over.īoth Eisenstein and Kuleshov used the five steps of Soviet Montage Theory through their careers, which helped them to become some of the most influential technical filmmakers of all-time. Sergei Eisenstein Montage Film The Five Steps
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