FILM STUDIES

Unit III

• Mise-en-scene- concept;
• Why to study Mise-en-scene;
• Four P’s of Mise-en-scene;
• Elements of Mise-en-scene;
• Who determines Mise-en-scene:
• Mise-en-shot- concept;
• Aspects of Mise-en-shot;
• Effect of Mise-en-shot Technique;
• Cinematographer properties.

3.1 Mise-en-scene- concept:

The arrangement of performers and properties on a stage refers to all the visual elements of a
theatrical production within the space provided by the stage are called mise-en- scene, which is
otherwise called stage setting. Mise-en-scene is a French term which literally means putting on
stage, that is: (mise) putting- (en) on- (scène) stage. Film makers have borrowed the term Mise
en scene and have extended the meaning to suggest the control of the director over the visual
elements within the frame.

3.2 Why to study Mise-en-scene:

Studying mise-en-scène is essential for understanding how filmmakers use visual elements to
enhance storytelling and convey meaning. By examining the arrangement of props, costumes,
lighting, and camera work, viewers and critics can uncover deeper layers of a film's themes,
character dynamics, and emotional tone. Mise-en-scène helps reveal how space, composition, and
design choices influence a viewer's perception and emotional response to a scene. For aspiring
filmmakers and cinematographers, studying mise-en-scène provides valuable insights into how to
craft compelling and meaningful visuals that support the narrative. Ultimately, it deepens one’s
appreciation for the artistry of filmmaking and shows how every element in a frame can contribute
to a cohesive and powerful cinematic experience.

3.3 Four P’s of Mise-en-scene:

The four P’s of Mise-en-scene are;

• Point of view: The relationship a camera has to a person or action. Usually movies use an
objective point of view, so that most of what is shown is not confined to any one person’s
perspective.
 • Posture: The character’s expression refers to the facial expressions, the posture and emotions
created by the actor. The character’s emotions and behaviours on the screen are carefully
controlled by the director by instructing the importance and limitations of the expressions that
create a thematic element to the film.
• Props: Settings also add a meaning to the story that involves props, which gives detailed meaning
to the total action like a bottle with drug name, broken window glass or a shower curtain shown
in a film may provide importance or even the relationship with characters. For example, a bottle
with drugs name is used to kill a healthy man or the shower curtain is used to hide a killer are the
props used to show the relationship with the characters.
• Position: The character’s movement refers to all the actions made by the actor including gestures.
The character’s movement in film is inter related with the frame fixed for a shot and the other
elements of Mise-en- scene used for that shot. That is, the Setting and Camera angle decides the
character’s movement, which is yet another key element of Mise-en-scene controlled by the
director to create artistic power of the film. Each director has his own way of using the elements
of Mise-en-scene, which is otherwise called as direction style.

3.4 Elements of Mise-en-scene:

Four aspects of mise en scene which cover the part of physical art of the theatre are setting, costume,
lighting and movement of characters. Using and controlling of these elements provide the director
an opportunity to stage the event for the camera to provide the audience with colourful and sharp
memories.
3.4.1 Setting:
Setting is an important visual element of film, which includes all the elements seen by
the viewer that informs time and place. The Setting aspect of mise-en-scene plays an
active role in establishing the location or props, which is related to action of the film.
Selecting, constructing and arranging the elements of Setting shows the controlling
power of the director in the art.
3.4.2 Costume:
Clothing and its related accessories are called Costume, which is one of the important
visual elements in film. Costume contributes to enhance the narrative or story by
suggesting social position of characters and characters development in the film.
Apart from enhancing the narrative or story, the Costume also contributes as props for the
film. That is any portion of a costume can become props. For instance, shirt button of the
murderer, Police cape, sunglasses and etc may be important props to create plot in the
story, which is derived from costume.
 3.4.3 Character Movement:

Like Setting and Costume, Character expression and movement are important elements of
Mise-en-scene used in film to support the narrative structure or story. Often viewers think
actors as icon of their real life; therefore the viewers always underestimate the art of acting.
So, nowadays most of the directors don’t concentrate much on the actors acting, which
consists of character’s expression and character’s movement. The expressions expressed by
the actors and the movements controlled by the director are the two most important elements
of the Mise-en-scene.
3.4.4 Lighting:
For any film director, lighting is more than illumination that enables the viewer to see the
action. Even though Lighting is the sole responsibility of the Cameraman, the director use
lighting as a important tool to convey special meaning about a character or story to the
viewer. The key aspect of the Lighting is used to define the Setting of a scene or highlight
the behavior of the characters in the film. The quality of lighting in a scene can be achieved
by controlling the quality and the direction of the lights.

3.5 Who determines Mise-en-scene:

Mise-en-scène is primarily determined by the director, but it is a collaborative effort
involving several key members of the film crew. The director has the vision and overall
control of how the scene should look and feel, setting the tone, mood, and atmosphere
through the arrangement of visual elements. The production designer is responsible for
designing the sets, props, and overall environment, ensuring they align with the director’s
vision. The costume designer, makeup artists, and hairstylists work on creating the
appearance of the characters to fit the story's world. Cinematographers, or directors of
photography, control the lighting, camera angles, and shot composition, which play a critical
role in how the mise-en-scène is visually captured. Therefore, while the director holds the
final say, mise-en-scène results from a highly coordinated effort among various departments.

3.6 Mise-en-shot- concept:

Mise-en-shot refers to the specific arrangement of visual elements within a single shot in a film
or television production. It involves the careful composition of the frame, where everything
seen in the shot is purposefully placed to convey meaning, establish mood, or support the
narrative. This includes the positioning of characters, props, lighting, and the camera angle, as
well as the use of color, space, and movement. The concept of mise-en-shot goes beyond just
aesthetic choices; it plays a crucial role in storytelling by enhancing the viewer’s understanding
of the plot, character relationships, and themes. In essence, it’s about creating a visual moment
that not only looks compelling but also contributes to the emotional and narrative impact of the
scene.
3.7 Aspects of Mise-en-shot:
This process starts at the level of the shot, when have to assemble information into a coherent space
and time, and creating that coherence requires that the filmmaker guide certain areas of the frame.
• Space: Often a director creates a space composition by making the foreground plane quite large and
the background plane quite distant.
• Deep Space: A movie uses deep space when there are important components in the frame
located both close to and far from the camera. It is used to emphasize the distance between
objects and characters, as well as any obstacles that exist between them.
• Shallow Space: The opposite of deep space is shallow space. In shallow space, the image
appears flat or two dimensional, because there is little or no depth.
• Off-screen Space: Off-screen space is space in the diegesis that is not physically present in
the frame. The viewer becomes aware of something outside of the frame through either a
character’s response to a person, thing or event off-screen or off-screen sound.
• Time: Cinema is an art of time as well as space. The director’s control over mise-en-scene governs
not only what seen but also when to see it and for how long. The director shapes the speed and
direction of movement within the shot.

3.8 Effect of Mise-en-shot Technique:

• Enhances Narrative Clarity: Mise-en-shot helps clarify the story by arranging visual elements
that support the plot and characters. The careful composition of each shot ensures that the
audience understands the context, emotions, and relationships within the scene without the need
for additional exposition.
• Sets the Mood and Tone: The arrangement of lighting, colors, and camera angles in mise-en-
shot creates the atmosphere of a scene. For example, dark, shadowy lighting may evoke
suspense or fear, while bright, vibrant colors can create a joyful or optimistic mood. This
technique helps to emotionally engage the audience.
• Reveals Character and Motivation: How characters are framed within a shot, their
positioning, and their interactions with objects can reveal their psychological state or
motivations. A close-up shot can highlight a character's emotions, while their placement in the
scene may indicate power dynamics or relationships with others.
• Creates Symbolism: Mise-en-shot allows filmmakers to embed visual symbolism into a scene.
The use of specific props, colors, or settings within a shot can reflect deeper themes or motifs in
the story, providing the audience with subtle clues about underlying messages or conflicts.
• Controls Visual Focus: Through mise-en-shot, filmmakers guide the audience’s attention to
specific details within a scene. The placement of objects or characters in the foreground or
background, along with camera focus and movement, directs the viewer's gaze and enhances the
storytelling by emphasizing important elements.
3.9 Cinematographer properties:
Cinematography is the act of capturing photographic images in space through the use of a
number of controllable elements. These include the quality of the film stock, the manipulation
of the camera lens, framing, scale and movement. Cinematography is a function of the
relationship between the camera lens and a light source, the focal length of the lens, the
camera’s position and its capacity for motion.

Open up a movie camera or camcorder and we will find all kinds of mechanical and electrical
parts packed inside. But the basic science behind making movies has nothing to do with
lenses, gears, electric motors or electronics; it’s all about how the eyes and brain work.
Probably would have done this trick with a help of flick book or flip book by drawing little
stick people on the corner of a pad of paper and flicking them with the fingers so fast that they
hop, skip and jump.

When the eye sees a series of still images or ‘frames’ in quick series, it holds each image for a
little while after it disappears and even as the next one starts to replace it. In other words, each
picture reveals into the next one, so they blur together to make a single moving image. This is
known as the ‘persistence of vision’, which is the secret behind every movie have ever seen.

3.9.1 Photographic Image:

The basic photographic images are;
3.9.1.1 Film Stock:
Film stock is an analog medium that is used for recording motion pictures. It is strip or
sheet of transparent plastic film base coated on one side with a gelatin emulsion
containing microscopically small light sensitive silver halide crystals. The sizes and
other characteristics of the crystals determine the sensitivity, contrast and resolution of
the film. There are several variables in classifying stocks; in practice, one orders raw
stock by a code number, based on desired sensitivity to light.
• Base: A piece of film consists of a light-sensitive emulsion applied to a tough,
transparent base, sometimes attached to anti-halation backing. Since the late 1990s,
almost all release prints have used polyester film stock.
• Emulsion: The emulsion consists of silver halide grains suspended in a gelatin colloid;
in the case of colour film, there are three layers of silver halide, which are mixed with
colour couplers and inter layers that filter specific light spectra. These end up creating
yellow, cyan and magenta layers in the negative after development.

• Chemistry: Development chemicals applied to an appropriate film can produce either a

positive or negative image. The first films were darkened by light: negative films. Later
 films that produce a positive image became known as reversal films; processed
transparent film of this type can be projected onto a screen.

• Physical Characteristics: Film is also classified according to its gauge and the
arrangement of its perforations gauges range from 8 mm to 70 mm or more, while
perforations may vary in shape, pitch and positioning. Depending on the manufacturing
processes and camera equipment, lengths can vary anywhere from
25 to 2000 feet. Common lengths include 25 feet for 8 mm, 50 feet for Super 8, 100
and 400 feet for 16 mm, 400 and 1000 feet for 35 mm, and 1000 for 70 mm.
• Responsivity: A critical property of a stock is its film speed, determined by ASA or its
sensitivity to light listed by a measurement on the raw stock which must be chosen with
care. Speed determines the range of lighting conditions under which the film can be shot
and is related to granularity and contrast, which influence the look of the image.

• Colour Temperature: Another important quality of colour film stock in particular is its
colour balance, which is defined by the colour temperature at which it accurately records
white. Tungsten lighting is defined at 3200 K, which is considered ‘warm’ in tone and
shifted towards orange; daylight is defined at 5600 K, which is considered ‘colder’ and
shifted towards blue. This means that unfiltered tungsten stock will look normal shot under
tungsten lights, but blue if shot during daylight. Colour temperature issues can be
compensated by other factors such as lens filters and colour gels placed in front of the
lights.

3.9.1.2 Camera Lens:

• Depth of Field: Depth of field is the measure that can be applied to the area in focus
within the frame.
• Deep Focus: Deep focus requires a small aperture and lots of light, means that the
foreground, middle ground and background of the frame remain in focus.
• Shallow Focus: Shallow focus is a function of a narrow depth of field and it implies
that only one plane of the frame will remain sharp and clear (usually the foreground).
• Racking Focus: Filmmakers can change the focus of the lens to a subject in the
background from the foreground or vice versa. This can be used to shift the audience’s
attention or to point out a significant relationship between the two subjects.
• Zoom Shot: The zoom shot occurs when a filmmaker changes the focal length of
the lens in the middle of a shot. We appear to get closer or further away from the
subject when this technique is used.
 3.9.1.3 Film Speed:

• Rate: The standard rate for a film is 24 frames per second. If more frames are added
to this second the film will seem to slow down. The film will speed up if there are
less than 24 frames per second.

3.9.1.4 Framing:
• Angle of Framing: When filming from below or above the subject of the frame, it is
known as a low or high angle. Filming from different angles is a way to show the
relationship between the camera’s point of view and the subject of the frame.
• Level of Framing: This refers to the height at which the camera is positioned in a given
shot. Different camera heights are often used to display or exaggerate differences in points
of view.
• Canted Framing: Canted framing is where the camera is not level but tilted. It is used in
action films and other films with lots of movement. It may suggest danger or disorder.
• Following Shot: Following shot is a shot that follows a character with pans, tilts and
tracking. It is unobtrusive and focuses all of the viewer’s attention on the character.
• Point of View Shot: Point of view shot places the camera where the viewer would imagine
a characters gaze to be. This is a technique of continuity editing, because it allow seeing
what the character sees without being obtrusive.
• Wide-Angle Lens: Wide-angle lenses distort the edges of a frame to emphasize the amount
of space in a shot. They are used in enclosed areas where space is limited.

3.9.1.5 Scale:
• Extreme Long Shot: An extreme long shot is when the scale of what is being seen is tiny.

• Long Shot: A long shot is when the scale of what is being seen is small.
• Medium Long Shot: A medium long shot is when what is being viewed takes up almost
the entire height of the screen.
• Medium Close-Up: A medium close-up is when what is being viewed is large and takes
up most of the screen.
• Close-Up: A close-up is when what is being viewed is quite large and takes up the entire
screen, such as a person’s head.
• Extreme Close-Up: An extreme close-up is when what is being viewed is very large
usually this is a part of someone’s face.

3.9.2 Duration of the Image & Framing:

In filmmaking, a film frame is one of the many still images which compose the complete
moving picture. The term is derived from the single image been recorded on a strip of
photographic film that quickly increased in length.

The term may also be used more generally as a noun or verb to refer to the edges of the image
as seen in a camera viewfinder or projected on a screen. The camera operator can be said to
keep a car in frame by panning with it as it speeds past.

When the moving picture is displayed, each frame is flashed on a screen for a short time and
then immediately replaced by the next one. Persistence of vision blends the frames together,
producing the illusion of a moving image.

The frame is also sometimes used as a unit of time, so that a momentary event might be said to
last six frames, the actual duration of which depends on the frame rate of the system, which
varies according to the film standard in use.

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 FILM STUDIES
Unit IV

• Montage- Definition & concept;

• Origin of Montage;
• Use of Montage;
• Importance of Montage;
• Types of Montage;
• Montage Film Techniques;
• Soviet Montage Theory - Definition & concept;
• Development of Soviet Montage;
• Types of Soviet Montage;
• Film Editing - Definition & concept;
• History of Film Editing;
• Continuity Editing - Definition & concept;
• Parallel Editing - Definition & concept;
• Use of Parallel Editing;
• Montage Vs Parallel Editing.

4.1 Montage- Definition & concept:

Montage is a French term literary means ‘putting together’. Soviet montage theory is an approach to
understand and create cinema that depends heavily on the editing. Montage is the technique of selecting
and editing separate sections of film together to create a constant meaning. That is, a montage
dramatizing a scene or sequence.
For example, in the famous cricket match sequence in the film ‘Lagaan’, the shots may be
communicated through series of fast unrelated shots showing audience gathering, scoreboard, umpire’s
signaling and intercut with characters expression indicates that the match is going on. At the same time,
the succession fast shots showing audience leaving the place and again gathering with another costume,
showing the sky and characters with different expressions indicate the match is played for many days.

4.2 Origin of Montage:

In year 1925, the twentieth anniversary of the 1905 Russian Revolution, a piece of cinema history
was created. Commissioned by the government to commemorate the twenty year anniversary, Sergei
Eisenstein directed the film ‘Bronenosets Potyomkin (Battleship Potemkin). Within this film is one
of the most famous film sequences to have ever been made: ‘The Odessa Steps Sequence’. It was in
this sequence that Eisenstein made famous his editing technique which was known as ‘Soviet
Montage’. While other editing techniques, such as French Mise-en-scene have come into respected
 use in film; Soviet Montage remains one of the most influential techniques to be used in modern
cinema.
In formal terms, this style of editing suggests discontinuity in graphic qualities, violations of the 180
degree rule and the creation of impossible order matches. It is not concerned with the portrayal of a
logical order or sequential continuity as found in the classical Hollywood continuity system.

4.3 Use of Montage:

• Condenses Time: Montage helps compress long periods of time into a short sequence, allowing the
narrative to move forward without lingering on unnecessary details.
• Emphasizes Character Development: It is often used to show a character's growth, transformation, or
journey, such as in training sequences or learning moments.
• Creates Emotional Impact: By juxtaposing a series of shots, montage can evoke strong emotions and
enhance the emotional tone of the scene.
• Highlights Contrasts or Connections: Montage can compare or contrast different events, ideas, or
characters, creating a deeper understanding of relationships or themes.
• Enhances Storytelling Efficiency: Through the rapid sequence of images, montage allows filmmakers
to convey complex ideas, emotions, or changes in a short span of time, improving narrative flow.

4.4 Importance of Montage:

The importance of montage in filmmaking lies in its ability to convey complex ideas, emotions, and
narrative developments efficiently. By stringing together a series of shots, montage can condense time,
quickly advancing the storyline without the need for lengthy exposition. It also allows filmmakers to
emphasize key moments, such as character growth or critical plot points, through visual storytelling.
Montage can evoke strong emotional reactions by pairing contrasting images or highlighting a
character’s inner journey, often creating a rhythm or pacing that enhances the film's overall tone.
Additionally, it enables the creation of symbolic meanings and connections between different elements
within the narrative. Ultimately, montage is a powerful tool that enriches storytelling, making it more
dynamic and engaging while providing the audience with a deeper understanding of the themes and
emotions in the film.

4.5 Types of Montage:

Basically there are two types of Montages, the Analytical and Idea- Associative Montages. The third
basic type of montage is Metric Montage, concerned with the rhythm rather than juxtapositions.

• Analytical Montage: In Analytical Montage, an event is analyzed for its theme and construction. That
is necessary shots are selected and combine into a particular series of shots that make up a powerful
event on screen. The event is shown indirectly rather than it is. That is, the viewers have to apply
psychological conclusion to fill in the gaps so that they feel more involved in the scene and they
 becomes a participant.
o Sequential Analytical Montage: Three stages illustrate the steps involved to make a
sequential analytical montage. That is, montage represent the key development elements in
a sequence of an event, like the proposal, the engagement, the birth of the first child,
followed by the birth of a second child and etc. If the proper sequence of the event is not
maintained like the proposal, the birth of the first child, and birth of a second and followed
by marriage then the meaning changes.
o Sectional Analytical Montage: The selected shots are sequenced in various viewpoints is
called Sectional Analytical Montage, which does not follow any particular sequence shows
the various complication of a particular moment. Unlike the sequential montage, it stops
the event from progression temporarily and examines a section of it. The basic order of the
shots is still important to establish the point of view. However the shots are rhythmically
defined.

• Idea Associative Montage: Here two unrelated events are put together to create a third meaning -
developed in the days of silent film era to express ideas and concepts that that could not be shown
in a narrative picture sequence. These fall under two categories:
o Comparison Montage:
These comprise of shots that are juxtaposed to thematically related events to reinforce a
basic theme or idea.
Silent films often would juxtapose a shot of a political leader with preening of a peacock’s
shot to depict politician’s vanity.
Comparison montage acts like an optical illusion to influence perception of the main
event.
o Collision Montage: Two events collide to enforce a concept feeling or idea. The conflict
creates tension it betters the experience of the viewers these types of montages should not
be too obvious otherwise annoyed rather than involved. In this montage makes the
viewers aware of the plight of the homeless, insensitivity and social injustice.

• Metric Montage: Editing follows a specific number of frames (based purely on the physical nature
of time), cutting to the next shot no matter what is happening within the image. This montage is used
to elicit the most basal and emotional of reactions in the audience. This is a rhythmic structuring device
a series of related or unrelated images are flashed across the screen at regular intervals. A metric
montage is created by cutting a film into equal lengths regardless of colour, content or continuity of
shots; one can actually clap the hands to the beat. Accelerated metric montage the shots become
progressively faster it can punctuate a higher point.
4.6 Montage Film Techniques:
• Metric Montage: In this technique, shots are edited based on a predetermined number of frames or
time intervals, creating a rhythmic or mechanical feel. It’s often used in action scenes to build
intensity.
• Rhythmic Montage: This technique involves editing shots based on the rhythm or pace of the action,
often using music or sound to create a specific emotional or dramatic effect. The editing speed can
intensify or slow down the pace of the narrative.
• Intellectual Montage: Also known as "Ideological Montage," this technique uses a series of images or
shots that, when combined, convey a specific idea or concept beyond the literal meaning of the shots. It
often relies on contrast and juxtaposition to provoke thought.
• Tonal Montage: Focuses on creating a specific emotional tone or mood by carefully selecting shots with
a shared emotional quality.
• Overtonal Montage: Refers to the layered emotional complexity that emerges when these tonal
choices are combined, creating a more profound emotional or psychological impact.

4.7 Soviet Montage Theory - Definition & concept:

Soviet Montage Theory is a groundbreaking filmmaking approach developed in the early 20th century
by Russian filmmakers and theorists, most notably Sergei Eisenstein, Lev Kuleshov, and Vsevolod
Pudovkin. The core principle of this theory is that meaning and emotion in a film can be created through
the juxtaposition of shots rather than through the content of individual shots. According to Soviet
Montage Theory, the combination of different images creates new ideas or emotional responses that are
greater than the sum of the individual shots. This theory marked a revolutionary departure from
traditional narrative filmmaking, which primarily relied on continuous shots or minimal editing.

The concept of Soviet Montage hinges on the idea that editing is a creative, active process that shapes
the meaning of a film. Rather than simply assembling scenes together in a linear fashion, filmmakers
used editing to create a dynamic relationship between images. This allows the audience to interpret
complex ideas, emotions, and social or political messages, which the filmmaker wanted to convey,
through the careful arrangement of shots. The most famous technique within Soviet Montage Theory is
the montage of attractions, which emphasizes the emotional power of editing by contrasting opposing
shots to evoke a strong response in the viewer.

One of the key ideas of Soviet Montage is the Kuleshov Effect, discovered by Lev Kuleshov. He
demonstrated that a viewer’s emotional response to a shot could be manipulated depending on the context
in which it was placed. For example, the same facial expression, when juxtaposed with different images
 (such as food, a child, or a coffin), would evoke different emotions. This shows how editing can
manipulate the meaning of a shot and influence the audience’s perception of characters and events.

Soviet Montage also introduced the concept of montage as an ideological tool. Soviet filmmakers saw
montage as a way to convey political and social messages. By juxtaposing images in specific ways,
filmmakers could comment on the struggles of the working class, the horrors of war, or the triumph of
revolution. The idea was that montage was a means of manipulating the audience’s perceptions, making
them aware of social injustices or political realities.

4.8 Development of Soviet Montage:

Although Soviet filmmakers in the 1920s disagreed with how exactly to view montage, Sergei
Eisenstein marked a note that montage is ‘the nerve of cinema’ and the nature of the montage is to
‘solve the specific problem of cinema’.

While several Soviet filmmakers, such as Lev Kuleshov, Dziga Vertov, and Vsevolod Pudovkin put
forward the explanations of what represents the montage effect. But, Eisenstein view that ‘montage is
an idea that developed from the conflict of independent shots ‘wherein’ each sequential element is
not next to the other, but on top of the other’ has become most widely accepted.
Going against normal techniques of organized, smooth editing; Eisenstein created this segment as a
combination of various uneven and jolting shots in order to agitate and shock the audience into the
gravity of the situation presented. While other directors may have chosen to focus on one specific
character, Eisenstein follows many people through the sequence in order to give it more of a real world
tone.
In the editing of ‘Battleship Potemkin’ he juxtaposes shots of people fleeing down the steps, a mother
seeing her son trampled to death before she is gunned down and perhaps the most iconic shot of a stroller
rolling down the stairs amidst gunfire and dead bodies. The resulting sequence was a gut wrenching
spectacle drawing all of the audience into sympathy with the Soviet Revolution.
• Kuleshov: Despite Eisenstein’s significant advances within the Soviet Montage movement,
the real father of the movement was Lev Kuleshov. Kuleshov postulated that a single shot is
not influenced by the whole context of the film, as postulated by Hollywood, but simply by
the shots before and after it.

• Pudovkin: Another key player in the development of Soviet cinema was Pudovkin, one of
the most conventional Soviet filmmakers, is also known for stressing the importance of
good editing more so that his peers in Western Europe. While the film industry of other
nations was focusing on acting and directing Pudovkin stressed under acting and
discovered that more authentic emotion could be created though proper editing that through
overdramatic acting.
 • Oscar Award: Montage editing has found extensive use in many Oscar winning films,
especially in those films which capitalize on action sequencing. The technique of soviet
montage is very useful in creating the fast paced and chaotic feel that many action scenes
need, whereas mise- en-scene editing gives the slower intensity necessary for dramatic
films.

While other methods of film editing have gained prevalence in the respected film community, but the
technique of Soviet Montage remains an avid influence in many award winning films. Filmmakers
such as Alfred Hitchcock, Francis Ford Coppola, and Paul Greengrass have made excellent use of a
timeless technique in a variety of genres from horror, to action, to drama (Soviet Montage). From the
‘Odessa Steps’ to the ‘Battle of Mogadishu’, soviet montage has remained a clear influence upon the
work of many renowned film editors over the years.

4.9 Types of Soviet Montage:

The Soviet Montage theory encompasses various types and techniques of montage that were developed
to evoke specific emotional or intellectual responses from the audience. Here are the key types of Soviet
Montage which are also the Montage Film Techniques.

Metric Montage:

• Definition: This type of montage is based on the number of frames or the length of the shot, regardless
of the content. The shots are cut according to a fixed time duration, creating a rhythmic or mechanical
pacing.
• Purpose: Metric montage is used to create a particular rhythm or speed in the film, often seen in action
sequences or scenes where rapid movement or urgency is required.
• Example: Rapid cuts between scenes in action films or fast-paced sequences to heighten intensity.

Rhythmic Montage:

• Definition: Rhythmic montage is based on the content of the shots and their inherent rhythm,
including the tempo of the action, movement, and sound.
• Purpose: It emphasizes the natural movement and rhythm of the images, making the editing flow
smoothly. The shots are cut to match the rhythm of the action or music, creating a harmonious,
emotional connection.
• Example: A dance sequence in a musical film where the shots follow the beats of the music or a chase
scene with quick cuts that align with the rhythm of the action.
 Tonal Montage:

• Definition: Tonal montage refers to editing based on the emotional tone of the shots. It involves
selecting shots that share a similar mood, emotional quality, or color scheme, thereby creating a
particular emotional atmosphere.
• Purpose: The purpose of tonal montage is to evoke specific emotions (such as fear, joy, sadness) by
combining shots that have similar tones, enhancing the emotional impact of the scene.
• Example: A scene in which multiple shots of dark, somber lighting are used to create a feeling of
dread or sadness.

Intellectual Montage:

• Definition: Intellectual montage or associative montage connects shots based on their intellectual or
conceptual meaning rather than their emotional or visual similarity. It aims to generate an idea or
concept through the juxtaposition of unrelated images.
• Purpose: This technique allows filmmakers to create symbolic meaning, convey a message, or
provoke thought by placing images together that, when combined, suggest a deeper or more complex
idea than the individual shots alone.
• Example: In Eisenstein's Battleship Potemkin, the juxtaposition of shots of a woman's face and a
cannon firing suggests the violence and tension of revolution, linking two disparate visual elements
through their symbolic association.

Overtonal Montage:

• Definition: Overtonal montage is a technique where emotional tones and intellectual ideas are woven
together through the juxtaposition of shots. It combines different emotional or thematic tones,
enhancing the underlying meaning and amplifying the emotional impact of the film.
• Purpose: This montage technique not only influences the immediate emotional response of the
audience but also deepens their understanding of the film's themes, characters, or messages.
• Example: In Sergei Eisenstein's Battleship Potemkin (1925), overtonal montage is used during the
famous "Odessa Steps" sequence. The sequence juxtaposes images of violence and despair with
symbolic elements, such as the close-up of a baby carriage rolling down the steps.

4.10 Film Editing - Definition & concept:

Film editing is the process of selecting, arranging, and manipulating video footage to create a
coherent and engaging narrative. It involves cutting and assembling shots to shape the story, control
pacing, and enhance the emotional impact of a film. The editor works with the director to ensure
that the visual and auditory elements of the film come together in a way that serves the narrative,
themes, and tone. The concept of film editing goes beyond simply cutting scenes; it also includes
 decisions about shot transitions, timing, the rhythm of the editing, sound design, and visual effects.
Through techniques such as continuity editing, jump cuts, montage, and parallel editing, editors
craft the flow of the film, ensuring that the audience remains engaged and that the story is effectively
communicated. Film editing is crucial for transforming raw footage into a finished product, shaping
the viewer's experience and understanding of the story.

4.11 History of Film Editing:

The history of film editing dates back to the late 19th century, with early pioneers experimenting with
ways to manipulate film to tell stories. In the beginning, films were often shot in long, continuous takes,
with little to no editing. However, in 1896, Georges Méliès, a French filmmaker, is credited with
discovering the power of editing when he used cuts to create special effects in his film A Trip to the
Moon. This marked the beginning of editing as a narrative tool.

In the early 20th century, Russian filmmaker Lev Kuleshov further explored the potential of editing,
demonstrating how the juxtaposition of shots could create meaning, a concept known as the Kuleshov
Effect. This laid the groundwork for montage editing, which became central to Soviet cinema.
Filmmakers like Sergei Eisenstein used montage to convey emotional impact and convey complex ideas
through the dynamic interplay of shots.

During Hollywood's "Golden Age" in the 1930s and 1940s, editing became more refined and structured,
with the development of techniques such as continuity editing to maintain smooth storytelling. Pioneers
like D.W. Griffith and editors such as Vidor and Pudovkin helped establish principles that are still used
in modern editing today.

In the 1960s and beyond, editing underwent a revolution with the advent of new technology and more
experimental approaches. Directors like Jean-Luc Godard and the French New Wave filmmakers
pushed the boundaries of traditional editing with jump cuts and unconventional techniques. In the
1980s, digital editing began to emerge, with software like Avid Media Composer changing the
landscape of film editing by allowing more precise and flexible control over the editing process.

Today, film editing is a highly sophisticated and integral part of filmmaking, with digital technology
offering endless possibilities for editing and post-production, allowing filmmakers to create complex,
visually stunning narratives.

4.12 Continuity Editing - Definition & concept:

Continuity editing is the dominant editing technique found in narrative feature films, television
shows and web content. It is used to unify a series of disconnected shots into a scene that plays out
in a logical fashion. This is a style of editing that requires the director to try to make the film reality
 as much like the audience’s reality as possible. This means the film is trying to recreate what the
world around is and trying to make it easier on the audience to comprehend and understand the
action happening on screen.
Within this style of editing there are many terms or ways of implementing the style. These affects
can be used independently of each other to create desired affects. Various terms associated with
Continuity Editing are;
• Eye-line Match: This employs the audience’s ability to assume things. This series of shots
usually shows someone looking at something and then what exactly they are looking at. In
this way the audience can see exactly what the character is seeing and what the director
wants them to see.

• Match on Action: In order for this series of shots to make sense, the director must manipulate
the camera as if the film reality is creating exists when not in view of the camera. For
example, if a character happens to walk off screen in one shot, he must walk onto another
screen in another shot. All this says to the audience is that when one shot ends another will
pick up where the other left off making the reality of the film fluid and continuous.
• Establishing Shot: This is a basic shot that is used a lot. This shot is usually wide angled
showing the setting in which a scene is taking place. It helps the audience maintain a sense
of where the action of the film is taking place and places a smaller part of the film as a whole
inside of a specific place.
• Point of View (POV) Shot: This shot can be associated with the eye-line match but is a little
different. This shot tries to place the camera as a character, making the audience have physical
mass inside of the film reality.

• Axis of Action: This rule is somewhat complicated but makes sense if know what one is
looking for. On the contrary one probably think this is the most simple logical thing to do
when filming a conversation but it is actually a filming style itself. For example, two people
facing each other have a conversation. The scene cuts between each of these characters seeing
both halves of the conversation between two separate shots with only the single actor in each
frame. You want one actor facing left on the screen and one actor facing right. This creates the
illusion that they are looking at each other and not simply off the screen. If both characters are
facing left then they look as if they are facing the same direction, not each other, and therefore
would make for an odd looking conversation.

4.13 Parallel Editing - Definition & concept:

Parallel editing, also known as cross-cutting, is a film editing technique that alternates between two
or more scenes happening simultaneously but in different locations. This technique creates a sense
of connection between the actions or events in the separate scenes, often building suspense or
highlighting contrasts between them. Parallel editing is used to show multiple storylines unfolding
 at the same time, emphasizing their relationships or tensions. The concept behind parallel editing
is to draw attention to how different characters or events are linked or how they influence each
other, despite occurring in separate spaces. By cutting back and forth between these scenes,
filmmakers can build dramatic tension, provide narrative depth, and engage the audience by
weaving multiple plotlines together.

4.14 Use of Parallel Editing:

• Builds Suspense: By alternating between two or more simultaneous actions, parallel editing keeps the
audience on edge, building anticipation about how the events will converge.
• Creates Dramatic Tension: Switching between scenes in high-stakes moments can amplify the
tension, especially in action or thriller sequences.
• Weaves Multiple Storylines: Parallel editing is effective for showing different narrative threads
happening at the same time, making them feel interconnected and integral to the overall story.
• Draws Contrasts or Comparisons: It can highlight differences between characters, emotions, or
situations, enhancing thematic elements or character development.
• Shows Cause and Effect: The technique allows filmmakers to depict how one event or action
influences another, increasing the impact of the story.
• Enhances Pacing and Rhythm: The rapid switching between scenes creates a dynamic rhythm that
maintains audience engagement and drives the story forward.

4.15 Montage Vs Parallel Editing:

Parallel editing also known as cross-cutting, is a film editing technique of continuity editing that
establishes the relationship between two subjects by cutting from one to the other. One of the most
important effects of the parallel edit is that of simultaneousness, suggesting that two events occur at
the same time. By employing this sequence of alternating focus, the filmmaker is able to place subjects
in relation to one another, allowing complex and subtle relationships to establish themselves by way
of cinematic proximity.

In D.W. Griffith’s 1915 film ‘The Birth of a Nation’, cross- cutting is famously employed to establish
relationships and drive the narrative. However, parallel editing not simply contributed to storytelling,
it juxtapositions, contrasts, contrasts and dismemberments. Griffith’s understanding of the importance
of editing in establishing relationships on screen produced complex and dynamic filmmaking.

An example of this style occurs during the scene of Lincoln's assassination in the Ford Theatre. In
this instance, parallel editing is used to increase dramatic tension in service of the narrative, rather
than to complicate it. The camera cuts between shots of the stage, the President's viewing box and
close-up shots of the Stonemans (who are in attendance). While all of the subjects inhabit the same
theatre, Griffith uses editing to map out the separate spaces. The emphasized relationship between
these spaces is used to increase the tension within the scene. The various locales within the theatre
are intercut with shots of John Wilkes Booth preparing to assassinate the President, allowing the
audience to connect and relate the characters and their locations to the eventual, violent climax.

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