• Cartoon and Animation Studies
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• s.45
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• pp.177-195
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• 2016

This article analyzes Sergei Eisenstein's acting theory, which is famous for his Russian montage. According to the existing discussions, he avoids the psychological realism through the concept of cut acting. It is a method like montage from the viewpoint that the practice of the cut action is segmented into shots. While Vsevolod Pudovkin, who asserts a connection montage, is looking for performance to portray a gradual change of emotion adopted by Konstantin Stanislavsky's psychological realism, Eisenstein prefers the acting of Vsevolod Meyerhold's masks in the same manner as the collision montage. This article traces the viewpoints on acting and actor that Eisenstein posed throughout his montage theory. It focuses on Film Sense(1942) and Film Form(1949), which are a collection of articles written by Eisenstein. As a result of examining the domestic and foreign literatures centering on Korean and English, it is hard to find the discussions on the analysis of Eisenstein's acting theory. Almost all of them are concentrated in his montage, among which the mention of acting is extremely limited. The cut acting, the typage, the inner techniques and processes of actor that express and induce the living emotions, and the acting of the integrating into diversity as one of the inner language are useful concepts in the creation and case analysis of contemporary films. Especially, his acting theory can be applied in the creation process of cartoons, webtoons, and animations which can meet the most decisive and impressive montage technique of Eisenstein. It is also possible to find many related cases for the analysis. This is why I look back on Eisenstein's film acting theory, and the results of the discussion will be a sufficient foundation for the derivation of related research.

• The Journal of the Korea Contents Association
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• v.10 no.8
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• pp.147-158
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• 2010

The Soviet Silent Films in the 1920s, produced a brilliant prosperity in the history of world films in the cultural and artistic aspects. Among them, Dziga Vertov was a film theorists and a practitioner along with Sergei M. Einstein played a pivotal role in the contemporary soviet films at the time. But the film theories of Vetro is incorrectly recognized or specialized compared to the theories of Eisenstein. But Deleuze has stated that the short in the movie of Vertov is able to deliver a meaning and an impact and he has emphasized that a short can be significant by itself by focusing on the 'truth' which a documentary must have. His film theories are based on futurism and constructivism and use the 'kino-eye' method and 'Interval' theory to summarize and organize his movies into 'movie-truth' principal and 'life as itself' concept. Deleuze the purpose of this research is to analyze with the Vertov core of film theory and every theory of kino eye as the foundation and by comparing the Montage Theory of Sergei Eisenstein and applying Deleuze's Image Theory. Furthermore, it can be insufficient to discuss the film commercial achievements of Vertov as a result of inadequacy of previous research but it will further study his innovative methods and depth of his theories in his representation form in the documentary films.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.83-90
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• 2013

This study attempts interpretation of vertical montage expressed in assoziation montage focused on animation, Paprika. Montage has been continuously studied by Pudovkin, Eisenstein, Jacques Aumont and others till now. However, existing studies focused on the visual image of montage. Image is made of visual element and aural element. These two interact with each other and maximize the effect. It is believed that the study subject can be approached in more depth, if aural elements would be analyzed based on the assoziation montage which analyzed visual image in previous studies. Accordingly, this study explores and analyzes how vertical montage has been used in logical montage and optical conflict montage and what meanings they generated. The analysis results suggested followings. In logical montage and optical conflict montage, vertical montage complemented visual image by natural concurrence as a whole. Vertical montage also showed linked relationship, which reflects overall emotion by melodious concurrence. In addition, when there was melodious concurrence at certain time, place or unclear space, the elements showed continuity which made them link with relationship. However, when the role that cuts that continuity, in other words, when the tonal element, which let audience partially immerse, would be properly used when the space and time would change or get reversed, the effect was maximized. It also expressed a turning point of an event and enhanced the concentration of audience on the characters.