The Rhythm of Assembly.

Ejzenštejn, Art, Nature

Authors

  • Enrico Redaelli University of Verona Author

DOI:

https://doi.org/10.13136/

Keywords:

Ejzenštejn, philm montage, nature, rhythm, actor-network theory

Abstract

The objective of this article is to elucidate the philosophical scope of Ejzenštejn’s theory of montage. As he himself stated, editing is not merely a film technique; rather, it is a principle that encompasses all aspects of film work and extends even beyond the boundaries of cinema. His writings demonstrate a vitalistic understanding of matter and nature, wherein all things are perceived as parts of a larger whole. This concept bears resemblance to the “concatenation” put forth by Gilles Deleuze and other scholars: montage is a way of conceptualizing the relationship parts-whole, discrete-continuous, between the One and the Many. Art can thus be understood as a method of using dis- crete elements to evoke a unified whole.

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Published

2024-12-27

How to Cite

The Rhythm of Assembly.: Ejzenštejn, Art, Nature. (2024). PHILM. Journal of Philosophy and Cinema, 3, 95-115. https://doi.org/10.13136/