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This essay analyses early theories in regards to editing and montage as a film form and its relationship to the meaning that it creates in spectator’s mind. The main statement to prove in this essay is that controlling editing methods ignores the spectator’s imagination and conflictive editing is the right method to interact with spectator’s mind creatively. The essay considers Hugo Munsterberg, Sergei Eisenstein and Vsevolod Pudovkin’s essays by clarifying the major points and debating the similarities and dissimilarities between the three arguments.
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- Mahrokh Daneshnia (Autor:in), 2013, An Analysis of the Interaction between the Editing/Montage and Spectator, München, GRIN Verlag, https://www.grin.com/document/271504
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