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New York University, New York, USAe-mail: mi1@nyu.edu

Abstract. Mikhail Yampolsky. Point, pathos, totality. Two situations are possible when two fragments are confronted in montage. First, we can have a continuity corresponding to some established narrative codes. For instance, a character crosses the right border of the frame and reappears from behind the left side of the next frame. Such a fi gure will be read as a representation of continuity, but shown not in its integrity. Th e gap in spatial continuity is compensated here by the continuity of a story. On the other hand, we can have a junction that has no support by any code and that opens up opportunities for the display of metaphors, metonyms and allegories. Th ere are also possibilities for violent confl icts and shocks as in Godard. We do not really know how all these non-codifi ed fi gures of montage work. Th ere is no generally accepted theoretical model that could explain how we are able to synthesize two heterogeneous pieces.

All his life Sergei Eisenstein was fascinated by montage and tried to understand its way of functioning. He was particularly interested in solving the mystery of interaction between elements belonging to two diff erent media such as sound and image and in their way of creating unity. Th is article focuses on Eisensteins late writings in which he used the idea of pathos and Hegelian dialectics for the analysis of montage as a dynamic process. According to Eisenstein, montage fuses diff erent pieces of footage but also triggers the whole mechanism of the evolution of culture. Cinema, from this point of view, is not simply an art of modernity but a highest stage in the development of culture somewhat similar to the stage of the absolute knowledge that the spirit reaches in Hegel.

Keywords: point, pathos, totality, montage, narration, fragment

Sign Systems Studies 41(2/3), 2013, 1130

http://dx.doi.org/10.12697/SSS.2013.41.2-3.02

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Punkt paatos totaalsus

Kui kaht fragmenti montaais vastandatakse, on vimalik kaks olukorda. Esiteks vib meil olla tegu teatud kehtestatud narratiivsetele koodidele vastava jrjepidevusega. Niteks letab tegelane kaadri parempoolse piiri ning ilmub uuesti vlja jrgmise kaadri vasakust servast. Sellist kujundit loetakse jrjepidevuse kujutamiseks, ent seda ei nidata tema terviklikkuses. Lnka ruumilises jrjepidevuses kompenseerib loo jrjepidevus. Teisest lljest vib meil olla tegu prkumisega, mida ei toeta kski kood ning mis avab vimalusi metafooride, metonmiate ning allegooriate esitlemieks. Vimalikud on ka vgivaldsed konfl iktid ja okid nagu Godardil. Meile pole tegelikult teada, kuidas kik need kodifi tserimata montaaikujundid toimivad. Pole olemas ldtunnustatud teoreetilist mudelit, mis viks ra seletada, kuidas me suudame snteesida kaht heterogeenset elementi.

Montaa vlus Sergei Eisensteini kogu elu ning ta pdis mista selle toimimismehhanisme. Erilist huvi pakkus talle kahe erineva meedia valda kuuluvate elementide, niteks heli ja pildilise kujundi, vahelise vastastikmju mistatuse lahendamine ning see, kuidas need saavutavad htsuse. Kesolev artikkel keskendub Eisensteini hilistele kirjutistele, mille ta kasutas paatose ideed ning hegellikku dialektikat, analsides montaai kui dnaamilist protsessi. Eisensteini jrgi liidab montaa erinevad salvestatud materjali osad hte, ent kivitab htlasi ka terve kultuuri evolutsioneerumise mehhanismi. Sellest seisukohast lhtudes ei ole kino ksnes modernsuse kunst, vaid kultuuri arengu krgeim tase, mis mneti sarnaneb absoluutse teadmise tasandiga, millele vaim juab Hegeli puhul.

SSS 41 2-3-sisu