December 8, 2016 at 1:35AM
Can someone explain Tarkovsky's thoughts on montage?
or rather his idea of not using montage?
As I see it, although he uses long very long shots where most editors/directors would've split them into various shots, there is a correlation between his shots when he finally cuts.
For example when he cuts between two people in a dialogue, person A wanting something different than person B, then he creates what Eisensten called rythmic montage (creating visual continuity) or even metric montage. Furthermore by having A (thesis) meeting B (anti-thesis) he creates the synthesis.
Does Tarkovsky merely reduce the amount of montage used in film, or have I misunderstood something about the film theory?