![]() ![]() Has emerged as the most important and precise instrument for the organisation In search of our own material, our meter and rhythm. Out into the open, into four dimensions (three + time), Literature and the theatre we wholly approve of the use of cinema is everyīranch of knowledge, but we define these functions as accessory, as secondary We do not object to cinema’s undermining of Resources with the mechanical sum of the different elements of the differentĪt the beginning of the 1920s Vertov wrote: We must not confuse, either in theory or in practice, this combination of ![]() To cinema, it relies simultaneously on the resources of both the spatial and Here, as is well known, the general contours, as a rule,Īre established only after the details are grasped. Whole, thanks to the necessary collaboration of memory. The details appear one after another and merge themselves into a That is why, in these arts, we grasp the whole gradually, in our mind, out of In other arts, such as literature and music, on the contrary, develops in time. Visual art form are, as a rule, grasped before we can see the details. Their form, at any moment, can be wholly grasped. The works of spatial arts (graphic arts, painting, sculpture, architecture) are But the laws for the creation of thatįorm, and therefore the laws determining its perception, are different for the Principles of Vertov’s and Eisenstein’s montage theories. So fundamental that they require critical comparison with the foundational Would not like to proclaim banalities here, but I have to refer to some ratherįamiliar facts – since the distinctions I want to elaborate are That defined by the montage theories of the 1920s. I have come to realise how my conception of montage is different compared to Not repeat or imitate their principles, but rather try to do something of my Similar principles as a result of my own work. Grigory Chukhrai, Ingmar Bergman, Alain Resnais, Akira Kurosawa, Pier Paolo Pasolini,Īnd Eisenstein were not my starting point rather, I have come to formulate Sergei Gerasimov, Mikhail Romm, Sergei Yutkevich, Leonid Kristi, Sergei Parajanov, Only Eisenstein and Vertov created, but also by my direct and indirect mentors: Everything that could help me to express myįeelings and thoughts on screen has always been inspired by the best that not Similar ideas could alsoīe found in some film reviews published in the Soviet press and abroad. The principles of Sergei Eisenstein and Dziga Vertov. ![]() That, in these films, I resurrect or repeat the montage principles of the 1920s, Many of my colleagues who have seen my films The Beginning aka Beginning ( Skisb / Nachalo, 1967) and Us aka We ( Menq / My, 1969) think Then it becameĬlear that the very same wheel had become an obstacle to his desire to move faster. Of years have passed and man realised that he wanted to move even faster. Wanted to move faster, he invented the wheel. Task is complicated precisely by the fact that, in our attempt t o define this phenomenon, we will have to useĪs we all know, a long time ago, when man ![]() Require not only changing established ideas but also our descriptive methods. Seems to me the most accurate definition.įor the phenomenon I want to discuss would While others, while being born, ignore the fact that they kill.Īm not sure if these are the right terms that capture the essen ce of this method or theory but, for now, it Or perhapsĪ process in which some die while ignoring the fact that they are giving birth, Montage-at-a-Distance, or: A Theory of Distanceīearer: imagine a monster that devours the person from whom he came. ![]()
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