The Breakfast Club was influenced by Soviet film, specifically the use of montage. The film uses montage to demonstrate the passing of time while the students are in detention.
The Breakfast Club uses rhythmic montage in its famous dance sequence, it is an example of a montage that conveys a sense of togetherness.
MAD MAX: FURY ROAD (2015)
George Miller’s 2015 Mad Max is the forth instalment in the franchise and pairs visually striking cinematography with fast-paced editing which keeps the momentum of the movie continuous and spontaneous. ‘Mad Max: Fury Road‘, whether it being consciously or sub-consciously, exhibits many influences from late German Expressionism. The stark and ghoulish make-up of the War Boys demonstrates clear similarities with early German expressionist character makeup, for example Cesare from ‘The Cabinet of Dr. Caligari‘ and The Cashier from ‘From Mourn to Midnight‘.
Clear influences can also be seen in the over-exaggerated settings, expressive character types and visually telling costume choices. The setting design in Mad Max offers connotations of German expressionism through its’ purposeful and dramatic nature, often visualising the turmoil and agitation which saturates the characters’ thoughts and actions. Many shots from cinematographer John Seale feature aspects of the set obscuring the view of the characters or acting as a visual barrier between character and audience; this use of setting and blocking of the characters as a storytelling device (highlighted in pictures 1 & 2 down) reminisces techniques of German expressionism where the relationship between setting and character are used to further accentuate key themes or character elements.
MULHOLLAND DRIVE (2001)
Metric Editing – Based on the length of a shot. It creates the tempo of the film.
The iconic training montage of Rocky uses metric editing combining the length of the shots and the music to create a music video feel.
Rhythmic Montage – Based on both the length of a show and the dynamics of the scene. This technique considers the need to provide continuity of action within a scene.
The final scene of Whiplash uses fast cut editing matching the beat of the music that the character is playing.
Tonal Editing Montage – Focuses in the light, shadows, and colours of the edited scenes to provide an overall “mood”.
Battleship Potemkin is a film made entirely out of montage.
Over-Tonal Method – Brings together the first three methods (time/rhythm/colour) in a combined (holistic) approach.
In the movie UP. When the wife passes away a montage is shown. The use of music, colour and shot length created an over-tonal method. This combines different elements of film to create a mood.
The Intellectual Method – The most complex method and Eisenstein’s favourite – Creates new meaning by combining shots on the basis of a conceptual connection between them.
The Kuleshov effect is an intellectual montage. It’s use of this is in many films now a days.
This is the world’s oldest film school which was founded in 1919 making it 103 years old.
It is still active and offering many courses at specialist degree level with one masters degree option.
Constructivism is an early twentieth-century art movement founded in 1915 by Vladimir Tatlin and Alexander Rodchenko. Abstract and austere, constructivist art aimed to reflect modern industrial society and urban space. The movement rejected decorative stylization in favor of the industrial assemblage of materials
These images were made to get away from the bourgeois elements that Lenin thought realistic art had and moved towards abstract art that anyone could gather meaning from.
Identify at least one or more films which appear to have been influenced by the visual style of classic Soviet Constructivist Cinema.
The Breakfast Club:
Soviet Constructivism Cinema used a lot of montages. In ‘The Breakfast Club’ montages are constantly used to show the passage of time of the students in detention.
Battleship Potemkin:
The dominance of red and black was used in many Soviet films. In ‘Battleship Potemkin’ the whole film is in black but there are clear thing such as a red flag and blood which represent the alertness of the colour red.
watch it here – dr caligari – the fortune teller.avi
The Cabinet of Dr Caligari is a 1920 German silent film directed by Robert Wiene. It is widely regarded as a pioneer of the horror genre and an example of Expressionist filmmaking, a movement that emphasized highly stylised visuals and exaggerated performances to convey a subjective emotional experience, much like in classic theatre acting.
Wiene’s use of mise-en-scene can be seen in its usage of angular shapes, exaggerated perspectives and distorted sets. These three elements help to stir emotions of unease and disorientation in an audience, whilst conveying the inner psychological states of the characters. These visuals were heavily influenced by the impact of the First World War, the Expressionist movement evident in the style of each set piece – art was becoming a means to express trauma and anxiety through looming, often irregular forms as a response to the economical, social, and political state of the country at the time.
Cinematography within The Cabinet of Dr Caligari is used to create a sense of tension and mystery, as seen in its use of low-key lighting, deep shadows, and high contrasts. Close-ups and extreme angles are also placed to emphasise the disfigured and otherworldly nature of the film’s visuals. Additionally, handheld camera movements throughout various shots are used to intensify feelings of disorientation and unease in audiences, further amplifying the film’s atmosphere. These techniques form links with Expressionism in the wake of WW1, by replicating a similar, encapsulating urgency and claustrophobia, and feeling stuck in a constant sense of discomfort and anxiety – something often experienced by the war’s victims and survivors.
The Cabinet of Dr Caligari is renowned for its use of editing techniques that contributed to the development of horror genre conventions. These techniques, such as non-linear storytelling, help to create a dreamlike and unsettling mood throughout the narrative. Non-linear storytelling involves cutting between shots that are not in chronological order, often used in flashbacks – such as in Orson Welles’ Citizen Kane – which disorientates and confuses the audience. Discontinuous editing is also a key technique used, cutting between shots that are not in chronological order or a logical sequence, creating a sense of fragmentation and unease, which accentuates the almost broken state of mind of the characters, adding to the unnerving and eerie tenor of the film. Montage editing is another technique in the film, where a series of shots are assembled in a specific sequence to create a specific meaning or emotional effect – in this case, it’s used to build suspense and tension leading up to the film’s climax, increasing the effect of the psychological horror and unease on an audience.
Overall, the innovative use of mise-en-scene, cinematography, and editing in The Cabinet of Dr Caligari contributed to its success as a pioneering horror film and influenced many subsequent films in the genre. The film’s highly stylised visuals and use of exaggerated perspectives, low-key lighting, and discontinuous editing techniques all contributed to a heavy sense of psychological unease that remains effective to this day.
We took various clips from other people’s projects on our V drives, and created something inspired by the works of Gerasimov, such as Battleship Potemkin.
Watch it here – https://jerseyedu-my.sharepoint.com/:v:/r/personal/g_flavell13_hautlieu_sch_je/Documents/gerasimov%20task.avi?csf=1&web=1&e=cmlSob