Eisenstein and Bazin's Concept of Montage

The idea of persuasion stands out at the middle of Eisenstein's concept of principle. He draws most of his conclusions from Marxist ideas for instance when he starts his text with quotes like, “referring to interpretations of Marx and Engels the dialect structure is only the replica of the dialectic material of the outdoor events around the globe. In the following part of the sentence, the notion of dialectic that he has in cognizance is not just the way of interpreting information but duplicates the way the world operates, for him the truth is dialectical. It is a way of reasoning that makes efforts at explaining this reality and therefore making itself persuasive too. Eisenstein's philosophy of montage, thus, positions the dialectical theme of conflict. To him, it is contradictions of being are manifested in art. Eisenstein does not only differ with Pudovkin's impression of montage but also that of Griffith. He sees Griffith mosaic as a copy of his dualistic view of the ecosphere. He also considers the idea often Russian tableau as more advanced compared to the American. This shows how the pastiche imagery is dependent on a certain structure and the method of thinking which has been consequential from collective realization and therefore inseparably linked with the social arrangement of the society. Eisenstein does not reveal itself but needs a montage to illustrate the meaning of something. Montage in this view is a method that shows the principle of reality and the nature of reality is what assortment means.

Bazin's theory also brings out essence and realism just like that of Eisenstein, for instance, Bazin's revelation that in his writing about Murnau illustrates that it increases nothing to realism, it also doesn’t deform it but pushes it to reveal its organizational depth that brings out the preexistent relation. By exposing truth it without adding anything clearly shows that this approach deals essence of reality. He also draws an example which develops his position of realism; the example brings out how the people never forget the simplicity that comes with the world before concluding something to be condemned. This example is made clear in Bazin's film. ‘The Unit of Cinematic Narrative in Paisa is not the view. This was an intangible view of reality that was being scrutinized. The facts, however, are not a channel to a close but have significance on their own, and this shows the reason there is no need to interpret them.

Differences

Bazin had more faith that essence of realism reveals itself if the film does not include the interpreter. Einstein, on the other hand, the determination of montage is not to force a connotation that cannot be arrived at in certainty itself by the spectator. In this case the viewer plays an energetic role in Einstein's concept. The Spector creates an image concerning the present guidelines as suggested by the author's theme. The image is planned and designed by the author but also produced by the spectator himself. For Eisenstein, montage is the superlative way of bringing out the essence. This is based on the fact that it allows showcase of the significance to something by comparing it with other shots. On the other hand, Bazin favors the long deep emphasis shot used in Orson Welles.

SECTION B

Taking into account the unfolding in the exam film, Eisenstein idea seems more useful in the movie as compared to Bazin's. This is because Eisenstein’s sanity is transcendental and concentrates on finding the essential superiority of something beyond the experimental level. Bazin's position dwells more on a practical realism, thus eyeing for the essence in actual events and evidences. The film being dialectic draws heavily from Eisenstein’s theory. Eisenstein’s concept is about the way of thinking that resembles the way the real world works which the film also tries to do by associating vampires and zombies in real being situation to bring out the essence of love thus the title of the film. Eisenstein just like in the movie tries to bring a copy of his dualistic depiction of the world; his theory is founded on a definite structure and scheme of thinking which is consequent from the collective cognizance. Appearing as a replication of a new phase of human society and as a thinking outcome of superlative and philosophical education linked with the social arrangement of society. Ideas in the Jarmusch vampire film may sound like a departure, but his characters combined with their semi self-imposed solitude and sense of detachment from mainstream culture and generally, the lack of direction always have had a vampire quality. Montage is required to bring out the reality of in this film just like in the Eisenstein theory which meaning doesn’t merely reveal itself but with the application of montage to show precisely what something means.

Eisenstein theory just like in the film puts his reliance in the image of which by the use of montage generates an intellect of meaning empirically contained in the descriptions themselves but found utterly from their juxtaposition. The exam film tends to draw the spectators role in bringing out the meaning of the theme for themselves, for instance, trying to create the reality behind the use of zombies and vampires in the real being. It does not attempt to impose an interpretation that can’t be attained in reality itself to the viewer. Every spectator creates his way of interpretation based on their communication with his distinctiveness and his approach and out of his personal involvement. This is also a motive as to why Eisenstein’s theory is the best suit for the exam film. The use of vampires and zombies in the exam film does not signify something else and does not stand for the situation, but its primary purpose is bringing out the intepretation of another scene, in this case, the meaning in the real being that is the relationship between Adam and Eve. This is also the essence in Eisenstein’s theory making it more suitable for the exam film. Another thing that favors Eisenstein’s approach for application in this film is Eisenstein’s is the showing of the connotation of something conflicting it with other shots. This is brought out in the film by an understanding of the real world by comparing shots from the unreal world that of vampires and zombies to that of the real world that is between Adam and Eve.

Sound

            The production of the movie has good quality sound with the different themes attracting a particular tone of sound. For instances, scary scenes in the film will draw a very soft and low soundtrack with an anticipation of a given act to happen at that moment. Similarly, these scenes create a particular level of tension to the viewer as they can hardly tell of the moment that this act is likely to happen. These anticipations make the viewer pay more attention to the movie with the need to understand the incidences that are likely to occur. However, the sound strikes in various ways creating alternate perceptions from the viewer. With relation to the themes applied in the movie, different acts from the characters also dictate the kind of sound that will be produced. It is very active and loud in the scene s where drugs are shifting hands between the doctor and client. Additionally, the approach from the vampires will also dictate the sound that is being produced by the editors. It is a move to demonstrate the difference in characters and the class of people that are being displayed in that scene.

The movie is all an atmosphere and attitude as ephemeral as a dream. The vampires will always provide a particular sound when in need to attack their prey. They have the intentions of scaring the prey indicating an aspect of danger from the attacker.  The scenes of death are trying moments from the viewer as there is a need for discretion because of the graphic content in the movie. In some instances, the sound has a significant impact on the quality of the image that is being displayed. It is also stated that clear images in movie are accompanied with better sound. However, the film lacks the aspect of a story with the majority of these scenes concentrating on the acts of which character is going to depend on someone as a source of blood. It is witnessed in a view where Adam has waited for lengthy periods before consuming any amounts of blood. The creation of music in the movie has a direct impact on the sound that is being produced.

At a particular point of the movie, it is sad that Eve has no time of creating more music or writing of boos for other vampires. There is a scene of enjoying life in various ways which is one of the proficiencies by Eve. Another aspect of good quality sound in the movie is witnessed as different people spend time dancing to R&B music. The characters are following particular patterns as they are dancing to these pieces of music. For example, some of the soft sounds in the movie are witnessed as Eve pulls her husband to dance to “Trapped by a thing called love.” Erotic scenes further have soft sounds and music that match the mood on the floor compared to the sound that is being produced through the rough acts that happen.

Mobile Framing

Camera movement is however linked to the actions that are being demonstrated by the characters. It offers guidance on the acts of following up the activities of these vampires in the movie. Nevertheless, the camera movement has also helped in the production of better images of the movie and the tune that is to be applied when providing sound. For example, the erotic scene in the film has often demanded slow movements as the editor follows the dancing styles being implemented by the characters.

Similarly, the viewer is also focusing on the aspect of viewer discretion as the film camera only focuses on a different of content for the viewer. It is a different aspect to the scenes where vampires are moving from one place to another. Adversely, some scenes are not being displayed by the camera. There are very many quick movements in the movement thus creating difficulty in making a follow-up of what actions are taking place at a particular scene. However, it is further claimed that the camera movement help determines the editing of various scenes in the movie. In the long run, the movie will have a particular type of image quality that will be delivered to the audience for viewing and evaluation during an award ceremony that is being held.

Jim Jarmusch films borrow a lot from the visual dialectal of comics with more prominence on posing, immobility and punctuated by unexpected movements. There’s a visual receptivity that prompts the watcher to get on rich experience information and anticipate long episodes of no ‘activity,’ it's on paper’ the contrary of what is considered as comic in Hollywood book movie. Jim Jarmusch's movie is entirely filmography just except for a few; it is heavily dependent on comic. Jarmusch's love for camera movement is with springiness and very effective, enclosing shots for the best part in the medium or long compositions especially the definitive Hollywood ‘two shot’ of two people communicating. Time is spent by characters looking and thinking in Jim Jarmusch's films, for instance, Johnny Depp takes two-thirds of Deadman lying back and letting Gary farmer speak. This brings out the tempo of in the reading when you preferably savor each arrangement several times before stirring on to the next one, munching on the descriptions and the dialogue. Nevertheless, there is muchconcentartion on one couple (Adam and Eve) with the camera concentarting on the numerous movemenst that they are making in a diferent society. These apects further ead to a conclusion that the moviehas no story to provide to the audince as  they are only concentarting on a particular theme.