美語狂人雜記

V. Montage and Spectatorship: Eisenstein’s Dialectical Editing

In the 1920s, European film industries experienced a rich artistic period, and the USSR, notably, used montage techniques to instruct the masses ideologically. Sergei M. Eisenstein, a key Soviet theorist and filmmaker, played a crucial role in this cinematic innovation. Eisenstein referred to "reflexology," suggesting that all human behavior arises from a composition of elementary "stimulus-response" phenomena. Despite the crudity of his analysis, the relationship between montage and the spectator is significant. Montage, for Eisenstein, involves manipulating representations to produce images in the spectator's mind, with a fixed reality available objectively (Easthope 60).

Eisenstein's dialectical editing, as seen in the New Bedford scene of Moby-Dick, involves the conflict between onscreen (thesis) and offscreen (antithesis) space. The fragmented shots, such as the contrast between the thunderstorm outside the Spouter-Inn and the warm interior, create conflict and synthesis. Ishmael's innocent look (thesis) shifts to the grim painting on the entryway wall (antithesis), leading to a synthesis as Mr. Coffin evokes Ishmael's inner soul and grants permission for whaling. This synthesis is heightened by a close-up of a large oil painting, establishing Ishmael as the representative of the antithesis.

In subsequent scenes, Ishmael contemplates an ominous painting of a sinking ship and a huge whale, symbolizing the dark and mysterious aspects of the ocean. The discourse between Ishmael and Ahab confirms the looming suspense for the spectator, ultimately leading to identification with Ishmael's realization that the painting symbolizes the profound and monstrous meanings of the universe (Roberts 17).

VI. Conclusion

The study represents an experimental study at the intersection of cinematic and literary theories, aiming to establish cinematic art as an integral part of aesthetic value while exploring the boundaries between film and literature. However, the results suggest that concrete boundaries between these two domains are elusive. The prevalent notion of literary theory orientation in dealing with film might pose empirical challenges.

In conclusion, it is argued that more seminal discussions are required to accumulate diverse viewpoints and address central issues in the field. The study also serves as a preliminary and theoretical exploration, hoping to inspire systematic analyses in various ways and pave the way for further exploration in relevant areas.

Notes

1. Freud's division of mental processes into the id, ego, and superego, related to the unconscious, conscious, and preconscious, is employed for detailed interpretation (cf. Guerin et al. 118-125).
2. The term "archetype," influential in myth criticism, is linked to Jung's theory of individuation. Individuation is a psychological process of recognizing various aspects of oneself. The shadow, persona, and anima are archetypal components inherited by humans, influencing literary interpretations (169-170).
3. Roman Jakobson's concept of shifters, terms bearing the imprint of a situated addresser, is contrasted with the speech act and narrated event (Easthope 11-12).
4. The Biblical figure of Ishmael, as the rejected outcast, establishes a theme in Moby Dick, symbolizing the prototype of the alienated man (Edinger 15).
5. Ishmael in Moby-Dick is akin to Huck Finn, an innocent narrator with shrewd perceptions. Ishmael accepts his role, and the reader silently applauds his defiance of the law (Kennedy 22).
6. Gregory Peck's portrayal of Captain Ahab in John Houston's 1956 Moby-Dick remake and his 1962 Academy Award-winning role in To Kill a Mockingbird demonstrate his ability to project strength and dignity (DeFleur and Dennis 159).
7. The term "profilmic" encompasses not only physical elements in front of the camera but also their signifying effect, transcending visual imagination (Easthope 3).
8. Claire Johnston's analysis of cinema offering gendered positions for spectator identification is endorsed, exploring contradictions in Double Indemnity (16, 135).
9. Brecht's concept of alienation effect emphasizes the distancing of actors from their roles to prevent emotional manipulation and encourage critical judgment (Gray 13-14).
10. Eisenstein's concept of montage involves the juxtaposition of shots in a rapid sequence. Editing, in its narrow sense, refers to the material process, while montage represents the broader arrangement and interaction of shots (Aumont et al. 246).
11. For Eisenstein, a fragment is a unitary piece of film that, theoretically, can be defined as a unit of discourse rather than a unit of representation (Aumont et al. 60).

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