Eisenstein's Theory of Montage



Eisenstein's Theory of Montage

Introduction

Eisenstein theorized prolifically about the different aesthetic intuitions. At the same time he performed on the films that reflect on the film and its relationship to social change. In his facet employed various theories avant-garde at the time, leaving their aesthetic intuitions. One mentions here some of his most striking theoretical influences. Although Pavlov having opposed firmly to the revolution, the Soviets took it as his most influential psychologist. What attracted them was the role of the social environment and neurology (in accordance with materialism) in the explanation of human behavior, to the detriment of individual consciousness and introspection (Salazkina, 2009).

A consequence of this theory is the plasticity of behavior: it is possible to "deconditioning" individuals and promotes new conditions. The Pavlovian has as main explanatory concept the "reflection" or "reaction". It should be noted however, that they intend to explain all human behavior, including higher functions. The aesthetic thus becomes the "aesthetic consequences," which can be explained as any other in terms of a combinatorial complex reflexes innate and acquired. Eisenstein agreed a lot with these doctrines, especially early in his career, as is visible in their concept of "montage of attractions" (Yasnitsky, 2011).

Discussion

Eisenstein's Theory of Montage

The early years of the Russian Revolution were marked by intense artistic activity. Developed a revolutionary art that the party sought to steer towards spreading the revolution in a country where most of the population was illiterate. Eisenstein also put their artistic abilities to the service of the revolution.

For him, as for many other artists, revolutionary art was not only one whose themes were revolutionary. The form itself should be innovative for the Russian Revolution had tried to create something unique in history and why the old ways of expression were no longer appropriate (McGowan, 2008).

Not always though, this was the understanding of the Party and Eisenstein had some problems with political power. Particular was accused of excessive formalism and create an art somewhat elitist, not easily digestible by the masses. The conflict worsened at the time that Joseph Stalin led the Party. However, even during this period Eisenstein never cut through with the ideas of Soviet socialism, having also produced two important works: Alexander Nevsky and Ivan the Terrible.

The influence of dialectics (in the version of Marx, Engels and Lenin) is explicit in the theoretical work of Eisenstein. Their concepts of conflict, organic and pathetic, show this influence. For him the dialectic was not an ideology (like today tend to perspective it) but a worldview grounded in the latest scientific discoveries. The work of art to be authentic and organic should be governed by the same principles that govern Nature and History (Maclean, 2012).

According to dialectical reality is not given immediately and empirical, being necessary to progress to the level of concepts. Nature does not show on simple observation. For example, atomic theory implies an intellectual construction. Similarly, the laws of history are not in view, it is ...