Soviet Montage Theory and You! Part 4 - The Politics of Theory

in #vlog7 years ago

Theories are borne out of culture, which is usually influenced by something of authority in everyday life. The Soviet Montage Theory is no exception. Watch the video to learn more!

Video Transcript
Hello! I am the artist known as DEROSNEC, and welcome to my weekly vlog where I talk about making music, art, movies, and more.

Now that you know what Soviet Montage Theory was trying to convey creatively, we can take a step back and take a brief look at how the politics of the time and place heavily influenced the development of these ideas. As culture changes, ways of interpreting art also changes - so we as artists can use history to innovate within our own mediums as well.

A Nutshell History Lesson

The political climate in Russia in the 1920s was complicated. The Russian Soviet Socialist Republic (or RSFSR) had just been established in 1917, and many of the artists and filmmakers in the country who were opposed to the socialist communist revolution had fled to escape. And with revolutions being as messy as they are, much of the country was left without many resources which were necessary to make films - most notably, electricity.

Electricity

The new government also heavily censored the arts, and filmmaking in particular was ultimately left as a propaganda tool to spread the tenants of the new government and its ideals. Anything criticising communism was swiftly quashed, leaving only artists who believed in (or conformed to) the new system to have the infrastructure and funding to actually create anything.

Thankfully, limitation aids creativity, and having the government hovering over their shoulders forced the remaining established filmmakers to join with young budding filmmakers to develop this visual language which would convey their stories and messages effectively whilst still appeasing censors.

Different From the West

Filmmaking was still a new technology in the 1920s, and it was changing rapidly as new techniques were being explored all over the world. In Britain and Japan, films largely stuck to the standard of continuity editing. France focussed on visual effects and how to tell stories within one frame, and Hollywood perfected the art of studio production and eventually sync sound.

Hollywood

The lack of infrastructure for innovations in technology in Soviet Russia probably had a strong influence on why they focussed on theory, but it could be argued that it also fueled their desire to separate themselves intellectually from western media. If they wanted to convey the evils of the upper-class, then what was the best way to do it with the tools that they had available?

Connecting the Concepts

Eisenstein coined the term “Dialectical Montage”, arguing that putting two unrelated, conflicting images together would logically create its own meaning. For example, in his film Strike, he cross-cuts between footage of a bull being slaughtered and a group of police attacking workers. This has the double effect of not only being shocking, but planting the seeds of the idea that assaulting workers is akin to herding cattle to slaughter in the heads of the viewers.


The scene I refer to is at 01:26:38 - warning: graphic!

Soviet theorists argued that using montage in this way was logical - as in, the derived meaning would be universal to anyone with rational thought. But once the theory got out to the rest of the world near the end of the 1920s, that idea started to get a little fuzzy. Theorists and filmmakers in the USA challenged the idea that montage was logical - they believed it was more heavily psychological.

Put it like this, if you’re the intended audience for the aforementioned police and bull slaughter scene in Strike - that is, a working class person struggling in rural Soviet Russia - then yes, the proposed meaning is sure to hit the nail on the head. But for someone in the USA, with a completely different cultural background, everyday life, and established class-system... well, that meaning likely will be something completely different than what the filmmaker was going for.

Where do you see these techniques being used in media today? Do you think meanings in films and media are logical or psychological? Tell me what you think in the comments below!

Thanks for watching - hit that thumbs up button below and join the uncensored by subscribing to my Youtube channel, my newsletter, or by following me on facebook, twitter, and instagram! If you never want to miss a video, be sure to click the little notification bell icon, too.

DEROSNEC

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NOTE: These Thursday Vlog transcripts can also be found published on my website: http://derosnec.com

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I can't believe you didn't get any comments on a post like this. Especially, given how many followers you have. Clearly some votes, but this could provoke such interesting discussion. You definitely would've gotten some commentary and a resteem if I'd seen it in time.

I really like all that I see you're doing. Trying to genuinely connect and communicate. That's valuable. Not just doing what you do, but elaborating a bit. Exploring that a bit. I like it. Seeing how your art relates to the culture and working from that vantage point really can give you an edge. For good or for evil, whatever your angle. It's an asset either way.

The Video AND Transcript is a nice touch, as well. Sometimes I'm either in the mood/or space for one or the other. It's nice to have a choice. And while I'm in the mode of complimenting, I'll say I love your style. Both art and personal. If we were girlfriend clothes swappers, I'd totally steal, lol, borrow that sweater.

So first point of commentary... You said, "thankfully, limitation aids creativity". That's such a good point to be made. It's historically true. It's where people find hope and community and a voice. And I've noticed, somewhat related to this, you've befriended David Far. I see that simple fact showing in his case. Doing so much with so little. It's the passion and having something to say that drives that. Add to it the collaborative opportunities in a place like this and the potential is awesome. (Little obvious hint intended there - that I'm encouraging you both to run with that.)

Second point... to answer your question. I see the techniques being used all over. Doesn't even need to be said, but in politics. Here in the US and across the world since some have decided to explore, or rather exploit, the cutting edge of just how powerful that can be. Caught us all unaware, they have, it has. And its worked very well where it's been applied. Second place would be advertising. Then entertainment. Since the two are so closely intertwined, both seem to work together in that way. To emotionally manipulate. Create impressions/feelings of "lack" through product placement among other things.

And an example, because it's the most closely related to this subject and most recent I can think of... This music video from Charlotte Gainsbourg.

Definitely not meant to be any kind of propaganda, but her music always does have layers with deeper meaning. A good example of montage, IMO. Adds something to the song, and I find it to be a really beautiful accompaniment.

I see this is Part 4. I'm going to have to go back and look over 1 through 3 now. Seems to be so many people here just gaming things or not putting too much heart into it. I really value the ones who are. I guess, if you're going to put yourself out there creatively, might as well make it worth your while. I hope this response isn't too off base, since I haven't read the others. Still, an interesting topic. Timely, for sure.

wow that is the most impressive and thorough comment I've ever received - thank you for your nice comments and taking the time to actively watch/read my post!

And I agree totally - especially in the visual-information age I feel that it's important to understand the language that's being used in visual language. Case in point as you point out with all things US/North American media... I would argue that most of it is unbalanced/biased propaganda, on all sides, designed to divide further and spark desires for "stuff". It's hard to talk to people honestly, even in person, as they can be very swayed by what they see without digging any deeper.

Hope to see you around some more! I'll definitely be checking out your blog.

Edit: and yes @davidfar is awesome!! We're actually working on a track together right now - not metal, but he's nailing it. Great guy :D

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