What is the difference between a metaphor montage and a vaudeville montage?

Eisenstein's definition of vaudeville montage is that juggling is a special moment in which all elements are designed to instill into their consciousness the idea that the director intends to convey to the audience, so that the viewer enters the mental or psychological state that gave rise to the thought, in order to cause an emotional impact. This technique can be freely chosen in terms of content, and is not bound by the original plot, which promotes the effect of finally explaining the theme.

This is a more rational and abstract form of montage than representational montage. For example, in the film "October", when the Menshevik representative makes a malicious speech, a shot of the hand playing the harp is inserted to illustrate that it "repeats the old tune and confuses the audience". For Eisenstein, the importance of montage was in any case not limited to the particular way in which the artistic effect was caused, but the style in which the intention was expressed, the way in which the idea was transmitted:

An idea is established through the collision of two shots, a series of thoughts creates an emotional state, and then, with the help of this aroused emotion, the viewer is made to empathize with the ideas that the director intends to transmit to them. In this way, the audience involuntarily becomes involved in the process, and willingly agrees with the general tendency and meaning of the process. This is the principle of this great director.

After 1928, Eisenstein further advanced the juggling montage into a "dialectical form of film", based on the symbolism of the visual image and the logic of the inner meaning, while ignoring the content of the representation, so that it fell into the maze of pure theory, and at the same time brought about creative mistakes. Later generations learned his lesson, and juggling montages were used more sparingly in modern films. <>

When different lenses are grouped together, they often have meanings that the individual lenses do not have when they were on their own. For example, Chaplin's shot of the workers entering the factory gate is connected with the shot of the driven sheep; Pudovkin combined the footage of the melting glacier in the spring with the footage of the workers' demonstration, giving the original shot a new meaning. According to Eisenstein, the effect of connecting the opposing shots together is "not the sum of the two numbers, but the product of the two numbers."

With the role of montage, movies enjoy great freedom in time and space, and can even constitute film time and film space that are inconsistent with the time and space in real life. Montage can create a third movement in addition to the actor's movement and the camera's movement, which can affect the rhythm of the film. Shortly after the advent of cinema, American directors, especially Griffith, noticed the role of film montage.

Later Soviet directors such as Kulishov, Eisenstein and Pudovkin successively summarized the laws and theories of montage, forming the montage school, and their related works had a profound impact on film creation. <>

Expressive montage.

It is used to enhance the rendering of emotions, and pursue the correspondence and fit between shots to obtain a unique artistic effect. Expressive montage usually includes: symbolic montage, that is, the juxtaposition of a specific thing with another thing to express a certain meaning of this thing; Metaphorical montage, that is, the juxtaposition of things that are the same in appearance but different in substance to produce an analogous effect; Contrasting montage, that is, the combination of lenses with different contents and different picture phenomena to create a strong contrast relationship; Lyrical montage, which is a technique used by cinema to create poetry.

Both metaphorical montage and symbolic montage highlight the allegorical through other visual images, the difference is that metaphorical montage, through the analogy of the column of shots or scenes, implicitly and vividly express a certain moral of the creator. This technique often highlights certain similar characteristics between different things, so as to arouse the audience's association, comprehend the director's moral and appreciate the emotional color of the event.

Symbolic montage, symbolic montage is the use of a certain visual image to express a certain symbolic meaning. It differs from metaphorical montage in that it does not use the similarity of two images to express meaning, but extends a certain visual image, gives it a new meaning, and obscures its own meaning.

For example, in "Mother", Pudovkin combines the scenes of the workers' demonstrations with the scenes of the glacial water melting and freezing in the spring, which is used as a metaphor for the unstoppable accompaniment of the revolutionary movement. The metaphorical Qi grip montage combines great generalization power and extremely concise expression.

combined, it often has a strong emotional contagion. However, this technique should be used with caution, and the metaphor and narrative should be organically combined to avoid being stiff and far-fetched.

Symbolic montage is good for portraying the character of the character.

Reveal the theme of the work, so that the audience can feel the deep ideological connotation. When using symbolic montage, attention should be paid to being appropriate and natural, and it should not be used too much.

History of montage.

Juggling montage.

The implication is to choose a means with strong appeal and put them in an appropriate combination to influence the audience's emotions and make the audience accept the author's ideological conclusions.

Juggling montages can be chosen at will in terms of content, and are not bound by the original plot, which promotes the effect of finally explaining the theme.

Compared with expressive montage, this is a more comical and rational and abstract form of montage. In order to express some abstract rational concepts, he often squeezes into some shots that have nothing to do with the plot.

The above is from the Bangzhou Sales Encyclopedia.

Definition: Expressed implicitly and figuratively.

Montage is a general term for the form and method of composition of films.

Montage is a transliteration of the French language montage, which was originally a term in French architecture that means composition and assembly. Later, it was borrowed, and by extension, it was used in movies to edit and assemble, indicating the assembly of shots.

To put it simply, montage is to shoot a film into many shots according to the content of the film and the psychological order of the audience, and then connect them according to the original concept. In a nutshell: montage is the means by which groups of cut shots are connected.

Juggling montage, also known as attraction montage, is mainly a method of using picture shots that are detached from reality, narrative plot, and character trajectory in the film to create a film text with visual impact and clear expression in order to express the author's abstract ideas and thematic meanings.

Therefore, the use of vaudeville montage sacrifices the degree of connection between the camera and the narrative line, in order to express the author's ideas and themes and attract the attention of the viewer; The purpose of metaphorical montage is mostly used to expand the expressiveness, and the method is mostly to do work on the camera. There are certain differences in the purpose and expression of the two.