Montage and New Wave Film Essay

The differences between Soviet montage and French new quiver cinema are evoke and many. Both genres of film seek to create contrast between conterminous shots via discontinuity redaction, but subtle differences in their redact styles allow this contrast to green groceries very different results. In French new wave modify is used to both draw the earshot in, and push them away, it draws the audiences attention and inspires distaste.Soviet montage on the other hand uses editing non as a method of controlling the audiences focus, but as a way to create ideas. An analysis of the editing in the Godards Breathless and Eisensteins Battleship Potemkin will shine up these different effects. In Breathless, the first use of editing to financial support the audiences attention is in the setting where Micheal shoots the cop. In this scene Goddard makes use of editing to twist and distort eon.The audience hears the cop range Micheal Stop, or ill kill you in a calm sound at nearly the same time that Micheal cocks the gun. Immediately thereafter we get over cut to Micheal firing the gun and jump cut again to the practice of law office falling to the ground as he is shot. From a register point of view it is unders withald that these government issues do not take range so close to each other. The events happen in much too quick a succession to mimic reality. The jump cuts elapse time in an odd uncomfortable manner.It can be argued that this is jarring, and distasteful, but it is hardly this jarring and distaste that makes this scene so fascinating. Rushing through the event which is clearly the inciting action of the film (flying in the face of CHC) yields a plastered fascination with this scene that typical CHC could not hope to match. An effect sympathetic to the one described above is present in the scene where Micheal and Patricia running game down Micheals money in the taxi. This exemplifies the use of new wave editing to focus the audiences attention on the visual.In this scene, the visual difference between shots is minimal. If one were to imagine it without the jump cuts it would be long and monolithic but the prolific use of jump cuts counters this would-be-dullness. formerly again the jump cuts elapse time and quickens the pace of the scene artificially. The audience hears Micheal barking orders at the drive in succession that is faster that he speaks in the allegory, and they understand that this artificial fast precisely because of the jump cuts and he noticeableness in which they are presented. In this way Goddard is able to present a potentially long and dull car ride in the story much faster in the plot.Unlike the previously discussed scene, this scene does not quicken the pace past the point of comfort, it is intentionally fast paced and helps to arouse the audience. First lets take the Odessa Steps scene from Battleship Potemkin. This scene feels about as if it is a CHC film. Shots are spliced together smoothly and invisibly. The audience is never jarred by