 |
 |
two things: first of all, technically the cut from the bone to the space ship is not a jump cut but a graphic match . . . strictly speaking a jump cut occurs only WITHIN a diegetic space, not between spaces second: but some may argue that i'm being too pedantic above, and that the concept of "jump cut" has extensions and implications . . . perhaps . . . but if that's the case for "jump cut" it is, a fortiori, the case for "intellectual montage" . . . i've never been quite sure what eisenstein meant by that term, but certainly since his introduction of it it's come to be used in an enormous variety of ways . . . to the extent that the kubrick match-cut invites us to see the space ship as simply another tool created by humans as instruments of domination, it certainly IS suggesting a meaning absent from either shot -- and as such satisfies one requirement for the use of the term, though i think this is NOT what old sergei had in mind mike angelo lara <[log in to unmask]> Sent by: Film-Philosophy Salon <[log in to unmask]> 02/21/2006 01:17 AM Please respond to Film-Philosophy Salon <[log in to unmask]> To [log in to unmask] cc Subject Re: Intellectual Montage in Modern Cinema Is that an intellectual montage? I would think that is only a jump-cut.. my understanding of the Intellectual Montage is that the combination and collision of scenes or imagery combine to unveil or create an idea or message which is not present in any of the individual scenes. -gelo >From: "Shaw, Dan" <[log in to unmask]> >Reply-To: Film-Philosophy Salon <[log in to unmask]> >To: [log in to unmask] >Subject: Re: Intellectual Montage in Modern Cinema >Date: Mon, 20 Feb 2006 16:10:09 -0500 > >My favorite is the cut from the bone thrown up to the space ship in free >fall early on in 2001 A Space Odyssey. the two things resemble one another >and are both human tools...the first juxtaposed with the most recent and >sophisticated (in 1968). There are other prominent examples in Kubrick's >oeuvre... > >"For beauty is the beginning of terror we are still able to bear, and why >we love it so is because it so serenely disdains to destroy us" Rilke's >First Duino Elegy > >Daniel Shaw >Professor of Philosophy and Film >Lock Haven University >Managing Editor, Film and Philosophy >website: www.lhup.edu/dshaw > > >________________________________ > > >* >* >Film-Philosophy Email Discussion Salon. >After hitting 'reply' please always delete the text of the message you are >replying to. >To leave, send the message: leave film-philosophy to: >[log in to unmask] >For help email: [log in to unmask], not the salon. >** * * Film-Philosophy Email Discussion Salon. After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] For help email: [log in to unmask], not the salon. ** * * Film-Philosophy Email Discussion Salon. After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] For help email: [log in to unmask], not the salon. **