NARRATIVE THEORY - MONTAGE SEQUENCE ANALYSIS

Montage sequences are created through the edit of contrasting shots or clips. The idea behind the montage technique is that the clips are related through the symbolic association between the ideas within various shots rather than a narrative or action. 
Russian theorist Sergei Eisenstein demonstrated the aesthetic, physical and ideological aspects of montage video and his work presents the juxtaposing technique very well.





The Odessa staircase sequence from 'Battleship Potemkin' (1925) is a prime example of the use of the montage technique to create a wider atmosphere to the sequence. The audience's perception of time is altered with the elongation of the clips of the crowd running down the steps creating a confusing and distorted sequence to match the ideas portrayed.
The use of juxtaposing clips throughout the sequence was an essential part of Eisenstein's work, he believed that with the use of a strong juxtaposition in montage the two clips could uphold a greater or wider meaning than if they stood alone.  He wrote of five methods to create the conflict and inflict the emotional and intellectual responses he desired of the audience. 
1) Metric, this is where the editing follows the rules of time, the shots are cut according to the amount of time specifically given- no matter where the clips are in their progression or what they are showing.
2) Rhythmic, this cutting happens according to the continuity of the piece and also may be used to keep in time with the pace of the sequence. 
3) Tonal, this cut uses the emotion within the clips to create an audience reaction i.e cutting after a character dies. 
4) Overtonal, this is an amalgamation of all three previous techniques to create a confusing and emotive piece. 
5)Intellectual, this cut uses a range of clips from other film or media to create deeper meaning for example cutting to a scene of desolation after something tragic happens to a character to reflect emotion.