The concept of the 'montage', conceptualized by Soviet film directors in the early era of film history, is about the relationship between successive shots. The leading Soviet montage theorists, Eisenstein and Vertov, had conflicting positions about mo...
The concept of the 'montage', conceptualized by Soviet film directors in the early era of film history, is about the relationship between successive shots. The leading Soviet montage theorists, Eisenstein and Vertov, had conflicting positions about montages, but their montage theories still explored the relationship between adjacent shots. The era of Eisenstein and Vertov ended when they hit the wall of national ideology, but their classical montage concepts form the general concept of montages at present. The richness of montage theory is caught by the magnetic field of classical montage theory. Artavazd Pelechian's 'Montage-at-a-Distance' reawakens the richness of montages, halted in the past. Pelechian's Montage createsa distance between the shots and the interaction between them through numerous links. Pelechian created a disjunction in the relationships between successive shots, on which classic montages focused. Pelechian uses long distances between shots to convey multiple meanings in the film. 'Montage-at-a-Distance' captures multiple meanings that do not come together and yet can convey the emotions expressed by the images to the audience. The film aesthetics of Pelechian, which are not clearly defined as a single meaning as in reality, but are felt as an emotion, and can be said to be the beginning of new cinema.