Il ritmo del montaggio.

Ejzenštejn, l’arte, la natura

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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