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Soviet montage lack of film stock8/24/2023 (Editor’s note: See related article in CineMontage Q3 2015 for details of Hollywood’s struggles with sound.) There is some evidence that exchange of ideas did take place between the Russians and Americans despite Soviet mandates that the USSR develop its own sound technologies instead of licensing them from the West. The Tagefon was based on intensive variable density optical recording on film, while the Shorinofon, widely used for field and studio sound recording, was based on a mechanical reproduction of gramophone-like longitudinal grooves along the filmstrip.īoth utilized optical sound tracks and were somewhat equivalent to Hollywood systems of the time. Kaganovsky does not detail the science of these technologies, but two different systems were developed by Russian inventors, who named their inventions after themselves: Pavel Grigorevich Tager’s Tagefon (1926) and Alexander Shorin’s Shorinofon (1927). Like most media innovations, the search for a stable sound-on-film system was multi-national and characterized by tangled webs of genius, hard work, collaboration, theft and patent disputes. The Voice of Technology: Soviet Cinema’s Transition to Sound, 1928-1935įew Americans, even those who work with motion picture sound, have heard of the Tagefon and Shorinofon systems, but readers interested in the intricacies of how sound first meshed with cinema can learn about these machines and the artists who used them in Lilya Kaganovsky’s fascinating study, The Voice of Technology: Soviet Cinema’s Transition to Sound 1928-1935. At: (Accessed on 16 November 2018).Director Dziga Vertov with editor Elizaveta Svilova in the cutting room. Soviet Montage: Crash Course Film History #8 (2017) In: Crash Course Film History Pres. (2015) '10 Different Kinds of Montages That Can Help Make Your Film More Dynamic' In: No Film School. Learn about film (s.d) Soviet montage: how the Russian Revolution changed film At: (Accessed on 17 November 2018). (2017) 'Sergei Eisenstein and the Theory of Montage' In: Filmmaker IQ At: (Accessed on 17 November 2018). (s.d) Battleship Potemkin: Tonal Montage At: (Accessed on 17 November 2018). (6th ed.) Oxford: Oxford University Press, pp.13-40.Įmpire (2016) Movie movements that defined cinema: Soviet Montage At: (Accessed on 16 November 2018).įrierson, M. (2016) 'Beyond The Shot: The Cinematographic Principle and The Ideogram' In: Braudy, L. They instead used Marxist 'dialectic' (see fig.1) - the idea that two conflicting shots which collide during a montage produce a new idea, which can then collide with another conflicting idea, creating an ongoing chain of conflict and new ideas (Hess, 2017).Įisenstein, S. ![]() Soviet filmmakers such as Eisenstein and Dziga Vertov wanted to break conventions of Hollywood continuity editing since they thought that this faked reality ( Learn about film, s.d). "In my view montage is not an idea composed of successive shots stuck together but an idea that DERIVES from the collision between two shots that are independent of one another" (Eisenstein, 2016:26). ![]() Therefore, the audience receive a biased view since only one side of the story is portrayed. An example of this is in the Odessa steps sequence, all the civilians are portrayed as innocent and helpless, whilst the soldiers are aggressive and ruthless ( Soviet Montage: Crash Course Film History #8, 2017). For this reason, many of his films, including his most famous, Battleship Potemkin (1925) are considered as propaganda.
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