/ Eisenstein

14-02-22 Montage and architecture Eisenstein

The word path. Path is the path of viewing. Imaginary path varying perceptions across multiple phenomena. The path of viewing is across multiple phenomena creates varying perceptions which pass in front of a viewer. The sequentially revealing of subjects.

The path in a childs drawing, the path along the objects appears as a path along which a number of aspects of the subjects are revealed sequentially. The same in russian drawings and egyptian drawings. But painting has remained incapable of fixing the total representation of a phenomenon in its full visual multidimensionality. The camera has been capable of doing so but is unable to represent full visual dimensionality. Only architecture has bee truly capable of representing full visual paths.

Example: On acropolis the erechteion was built. The cliff was a-symmetric and the greeks without altering the natural relief placed the main temple on the highest point. Central body of propylaneum is presented en face. The others at an angle. At a certain point the pathenon is still the only object in our vision. But while moving around at a certain point it will become the centre of the panorama (gracefull).

The calculation of the film shot effect is obvious, each new impression of the next shot is enormous. It would further be of interest to analyze the lenth of time in which each of these pictures was presented to the spectator.

In Amecameca (pilgrims place) the stations of cross are placed as twelve stations alongside a winding road up a hill. From station to station there's an emotional build up while it is custom to go up to the top on one's knees. The emotional reaction increaeses.

The four plinths of bernini in Rome that support the canopy in st. Peters in Rome. The womans face passes through all stages of pain and terror. What do these faces mean? These eight shields express, through physiogonomy of a woman, the various stages of child birth. The church is a mother, a sacred metaphor affirmed by the plinths. It is said that the Prince of Palatine fell in love with one of Berninis pupils sister and made her prengnant during the building. The pupils solution was that his sister and Taddeo the prince) should mary. Urban scolded the artist for this request and gross presumption. It is said that Bernini wanted to surround the pope with the innocent victims eyes at the place he was saying mass forever. Some heads become chapterheadings and the final chapter is the head of the infant.

Some popes tried without succes to suppress the unbridled scurrilousness of these satires.

For a long time the satire of Bernini remained unnoticed. The answer is that the true image of this montage only surafaces in the sequential juxtaposition of its constitutent frames. In themselves the pictures mean nothing and seem quite innocent.

Pulemyot (magazine) for a long time the front and back cover of the book played an integral part as a montage sequence.

These examples not only link montage to architecture. The underline the immediate link within montage between mise en scene and mise en cadre.