Battleship Potemkin, Sergei Eisenstein, 1925
Man with a Movie Camera, Dziga Vertov, 1929
“The dramatic impact of Soviet Montage broke all the rules of the smooth, invisible editing of the Classical Hollywood Style. A style of filmmaking that 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. …[Soviet montage] theory of montage was built around the collision and conflict of images and ideas.” Choose two or three cuts from one of the above films and discuss the ways in which the juxtaposition of imagery gives meaning to the action and the story. Consider the rhythm of the cuts and the content of the shots.
Assignment PDF: Montage