Thanks to everyone who have contributed to this thread.
Regarding the mentioned sequence in The Godfather-
wouldn't you consider that to be an over-tonal montage
(drawing from Eisenstein's collision montages), instead of
being an intellectual montage? I'm looking to illustrate
the theory behind it through the use of modern examples, as
I find that students have a better grasp of it if they can
relate it to a more recent film. I'm from South Africa, so
it's really hard to get a hold of the mentioned sequences
from Kurosawa and Morris etc.
Thanks to all.
C.
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