![]() ![]() You can control your audience’s emotions with a powerful montage. You may think that a montage is cheating, but it really is a great technique to use. Those two images give American audiences a feeling of perseverance no matter the opponent, a tertium quid of strength. The film features Rocky training in a cabin out in the wilderness, while his opponent trains in high-tech facilities with a whole team of scientists. Rocky IV is an incredible piece of American propaganda. That feeling of oppression is the tertium quid. The film was a propaganda piece designed to influence an audience with a tertium quid, or a third thing people associated with two elements. In the infamous Odessa Steps sequence, the audience would see soldiers firing among a crowd and immediately feel helpless and oppressed. Sergei Eisenstein first developed the intellectual montage in Battleship Potemkin. The Rocky IV montages tie closely to the original Soviet Montage Theory. Heck, 31.9% of the entire film is just montages, and the movie is still awesome. Outside of the first film, Rocky IVis known for an incredible amount of montages. ![]() Rocky went on to win an Oscar for Best Film Editing. The first film set the tone with an iconic training montage that went on to be replicated in countless films, including nearly every sports film made since. The Rocky films had a huge impact on making the modern movie montage. Here are 7 things filmmakers can learn from the Rocky franchise. Let’s take a look at how one small film used new technology, great music, and incredible editing to create one of the biggest film franchises ever. Top Image: Sylvester Stallone on the set of Rocky IV via MGMĬreed, the seventh installment of the Rocky franchise, is about to hit theaters. These factors of industrial, social and cultural life in Russia all contributed to the Soviet Montage movement.The story of Rocky – the movie franchise, not the character – is a great source of inspiration and wisdom for anyone interested in making films. The filmmakers were also heavily influenced by Formalists, a group of art critics in Russian culture who believed that art should not try to reproduce reality, and that, like other forms of art, film should offer interpretations of the world by utilising artistic techniques in the case of the Soviet Montage movement, the main of these techniques was editing. But the filmmakers’ experience in “re-cutting” wasn’t the only thing that motivated the Soviet Montage movement. After 1919, the film industry was brought under government control, and film was used an an educational tool to spread the new government’s values to the masses. This experience trained the filmmakers in the art of editing, and after the nationalisation of the film industry in 1919 by the Bolshevik government the filmmakers put these skills to use in their own filmmaking. After Soviet Russia’s communist revolution in 1917-1920, the rest of the world were threatened by the country’s new political structure and were therefore frightened to deal with them, resulting in a lack of film stock available for filmmakers to use. Working around this issue, Russian film practitioners gained experience through “re-cutting” films that had been imported from Europe. Between 19, films produced in Russia by Russian film companies largely took on the shape of film narratives from other parts of the world (Europe and America), such as horror films and melodramas. Until 1908 no films had been produced in Russia, and most films found in pre-revolution Russia were European. ![]()
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