Eisenstein thesis antithesis synthesis
This gives us the basis of montage: it is a process, set up in the conflict (collision) between two shots, that then synthesise into a unified whole (an idea), a third meaning. Eisenstein describes this as a dialectical process, in which a synthesis is born from the interaction of a thesis and its antithesis. (A dialectic has particular theoretical trajectory from Hegel to Marx, that is perhaps beyond the scope of this paper. It is interesting to note however that Eisenstein starts to use dialectics in his nebulous theory of montage in response to Stalin’s formalisation of dialectical materialism as intellectual orthodoxy. This would perhaps explain Eisenstein taking dialectics in montage to an illogical extreme: montage produces a synthesis which interacts with another montage sequence to become another synthesis, which is a film is formed. This assumes too much intellectual work on the part of the audience. (Aumont 1987))
Thesis Antithesis Synthesis Eisenstein
(thesis + antithesis = synthesis) ..
An example of material from Eisenstein's diary, from: Bergan, page 5:
There is a description Chesteron [i.e., Catholic theologian and author G.K.
Synthesis—arising from the opposition between thesis and antithesis.
Only approaches the assembly of the sequence in a linguistic fashion, as if each shot were also a word so that the sequence can be regarded as analogous to a sentence, or paragraph in its meaning and effect. It is intellectual montage that most specifically produces the thesis+antithesis combinatory effect: the juxtaposition of two images creates a meaning that is not present in either image when seen by itself. This last type of montage is the one most often simply, generically, identified as being montage.