"The fundamental criterion for their constitution is the absolute lengths of the pieces. Realization is in the repetition of these "measures". Tension is obtained by the effect of mechanical acceleration by shortening the pieces while preserving the original proportions of the formula"
(S. Eisenstein, 1949, p.72)
Rhythmic
"Refers to continuity arising from the visual pattern within the shots. Continuity based on matching action and screen direction are examples of rhythmic montage. This type of montage has considerable potential for portraying conflict because opposing forces can be presented in terms of opposing screen directions as well as parts of the frame."
(A. Burgess, July 6, 2011)
Tonal
"Refers to editing decisions made to establish the emotional character of a scene. Tone or mood is used as a guideline for interpreting tonal montage, and although the theory begins to sound intellectual, it is no different from Ingmar Bergman’s suggestion that editing is akin to music, the playing of the emotions. "
(A. Burgess, July 6, 2011)
Overtonal
"Is the interplay between of metric, rhythmic and tonal montages. That interplay mixes pace, ideas and emotions to induce the desired effect from the audience."
(A. Burgess, July 6, 2011)
Intellectual
"Intellectual montage is montage not of generally physiological over tonal sounds, but of sounds and overtones of an intellectual sort: i.e., conflict-juxtaposition of accompanying intellectual affects"
(S. Eisenstein, 1949, p.72)
2. Dziga Vertov
Kino Eye (film eye)
"Art Career "Cine-Eye" is a montage method developed by Dziga Vertov which was first formulated in his work "WE: Variant of a Manifesto" in 1919. Dziga Vertov believed his concept of Kino-Glaz, or "Cine Eye" in English, would help contemporary "man" evolve from a flawed creature into a higher, more precise form. He compared man unfavorably to machines". (S. Wright, p.1, 15 January 2013.)
