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The film industry prior to the development and innovations of the two great movie directors of all times relied heavily on theatrical work. Eisenstein and Vertov's works on movie direction and production has not gone unnoticed. It is actually cited that they are regarded as some of the most successful movie directors in the history of movie directing. The name montage has been used in this context to denote the kind of artwork that is evident in creativity which involved subtle assembling, overlapping and overlaying materials within a movie clip in such a way that the sources of these materials are different.

In movie production, the movie clips are sequentially dissolved, cut and superimposed in such a way that they fit within a given time frame. This is made possible by employment of stylistic moviemaking techniques that is extensive in application of the cuts and other camera movement techniques that help capture the intended artwork in the clip. This may include a shift in the position of the camera which is deliberately done in such a way that it gives new life and meaning to the movie, such that has not been conveyed previously in other filming works within the same movie.

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In this essay, there is a great comparison between the works done by Sergei Eisenstein and his movie director counterpart Dziga Vertov. Special emphasis is laid between the movies that are produced by Sergei Eisenstein in 1925 named Battleship Potemkin that is a name begat from the actual happenings in the history of the Soviet Union, and the movie directed by Dziga Vertov in 1927 named Man with a Movie Camera that portrays the happenings in the production of the movie. Their pieces of work have been adored by many and since then their work has become one of the greatest classics of all times.

The introduction of their unique yet timely innovation in the movie industry sparked mixed reactions and there was a slow acceptance and criticism in their work to such great extent that governments within the surrounding regions deemed the innovation too lethal for human consumption. This prompted the governments to order censorship and editing of the clips so as to remove the parts that were deemed to be provocative to the people as well as the governments.

In some countries, all the copies that were found had to be set ablaze just to show the extent to which their production was deep in expression. But then, was the soviet montage all that revolutionary and if so what aspects of this montage made it that revolutional? This will be to topic of discussion in this essay as the researcher tries to view the Soviet Montage through the eyes of the two directors, Sergei Eisenstein and Dziga Vertov and their two famous films Battleship Potemkin and Man with a Movie Camera. Please follow through closely to find out the extent to which this may be considered a montage revolution or otherwise.

Movie critics have raised eyebrows on the authenticity of Dziga Vertov's near personification of the camera to appear as if it were some living entity. However, the same critics, asked to vote for the best movie ever produced, unanimously voted for the two movies terming the as the greatest masterpieces of art.

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Soviet Montage

The soviet montage is an amazing development that deeply indicate the kind of difference that lie between those who are considered to be in high class and those in the low class as well as the middle class persons and their interactions and representation in different platforms. It is argued that the production of these two films led to the now termed historical movie revolution. As of the production of the films, the primary mode of soviet montage was marred by editing, cuts, and overlaying among other known aspect which used figurative and other complicated forms that were meant to stimulate the spectators to their feet. However this was not always the case since some of the productions could hardly knuckle to move.

While considering the soviet montage, two types of movie editing techniques are exposed sand are normally in use in most of the films. The first if that which requires that a certain scene of action be repeated and the other require that a section of the scene to be clipped. In the first instance also called overlapping sequence, a section of an action is made to repeat sequentially in such a way that there is prolonged action in that section thus taking more time especially in action movie production which is meant to both thrill and emphasize a given section.

In the second method that is applied in movie clips editing is one that is normally termed as elliptical. In this production, there is reduction in size of the main clip which requires that some section be cut to shorten a scene thus making it both interesting in creating suspense or other forms of film effects and intended reception output to the audience.

In the filming industry, the introduction of the Battleship Potemkin is termed as one of the most revolutionary invention that introduces the so called silent movie that had and continued to general stirring reactions to all the viewers. The employment of montage is greatly evident especially in the Odessa Steps where there is murder of citizens by the czarist troop which applies special effects that enable the movie to stand out of the crowd. Eisenstein utilizes the following montages while promoting in his film, multiplicity, indeterminate and shifting points of view mirrors, in the production of his 1925 film Battleship Potemkin.

He emphasizes tonal montage, rhythm montage and metric montage in his work. There is interplay between the simulated sound effects, visual tension between the scenes and Kino-Pravda. Eisenstein utilizes metric montage in the Odessa Steps so serenely that within the set six minutes scene, there is exposition of one hundred and fifty round of gun shots captured in different angles that captures the characters psychology, abstract as well as viewpoint measured from a geometrically calculated angel giving a reflective appearance of the sunlight which makes polka dots and striped shadows to appear.

Considering the movie man with a movie camera, the camera is given the power of sight by the director Dziga Vertov. In this movie, the camera behaves in a similar manner as if the human eyes were taking the shorts, looking at the movie production, the producers, the actions, the scenes, the editing, the observers all entwined in one movie production while using somehow hidden cameras to take all this is quite thrilling, a work of enigma.

Despite the fact that his orders are not followed to the letter, Vertov's notes indicate that there is a strong emphasis on the rhythm montage, visual tension montage as well as simulated sound effects from dulcimer, cans, modified and electric piano, and some percussion instrument which is quite inventive as there had never been such improvisation an invention in the movie industry before.

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