Film as an organism and as a machine

Abstract

Abstract The thesis focuses on comparsion of theoretical aproaches of Sergei Eisenstein, Dziga Vertov and Andrei Tarkovsky, as a three completely different positions on a scale between organic and mechanic film. Each of these positions has its own specific temporality, according to editing method used by the artist: Eisenstein's dialectic montage in the mode "human-nature", Vertov's dialectic montage in the mode "eye-material", and Tarkovsky's antidialectic montage of self-generating film structure based on time pressure within the shots