Difference between revisions of "Theory and Analysis:Film Montage Theory in Evangelion"
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* A) In this shot, we see a beam of light shine down on Tokyo-3, aimed at Evangelion Unit 3. The NERV members watch it anxiously. But what exactly is going on? What type of angel attack is this? As it can bee seen, this image is incomplete on its own, and, without its succeeding images, would be a shot that would have little meaning. | * A) In this shot, we see a beam of light shine down on Tokyo-3, aimed at Evangelion Unit 3. The NERV members watch it anxiously. But what exactly is going on? What type of angel attack is this? As it can bee seen, this image is incomplete on its own, and, without its succeeding images, would be a shot that would have little meaning. | ||
− | * B) Now,we have an image that depicts one of the computer terminals reading statistics on what appears to be Asuka's brain waves. As it can be seen, the waves have risen sharply. Something is going on, it is just unclear as to what exactly it is. This shot has built upon the greater meaning of the first, and this is a step in understanding the montage. But what follows next will actually reveal the nature of the montage. | + | * B) Now,we have an image that depicts one of the computer terminals reading statistics on what appears to be [[Asuka|Asuka's] brain waves. As it can be seen, the waves have risen sharply. Something is going on, it is just unclear as to what exactly it is. This shot has built upon the greater meaning of the first, and this is a step in understanding the montage. But what follows next will actually reveal the nature of the montage. |
* C) And there is the meaning! Asuka has been attacked by the angel-- that is to say, that our worst fears have been realized. The light, the rainbow, and then Asuka herself were all shots that, when built upon each other, are able to give the viewer context and meaning. Though this seems like a very basic and obvious deconstruction of those three images, when it comes to actually assessing the visual discord in the rapid paced montages in Asuka's mindrape later during the episode, this kind of basic knowledge must be there-- otherwise we will possibly look at the montage images in seperate entities. This cannot be risked due to losing a greater meta-meaning in the montage sequence itself. | * C) And there is the meaning! Asuka has been attacked by the angel-- that is to say, that our worst fears have been realized. The light, the rainbow, and then Asuka herself were all shots that, when built upon each other, are able to give the viewer context and meaning. Though this seems like a very basic and obvious deconstruction of those three images, when it comes to actually assessing the visual discord in the rapid paced montages in Asuka's mindrape later during the episode, this kind of basic knowledge must be there-- otherwise we will possibly look at the montage images in seperate entities. This cannot be risked due to losing a greater meta-meaning in the montage sequence itself. | ||
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==Episode 22== | ==Episode 22== | ||
− | The montage sequences that are most notable are the ones presented in the "mind-rape" scenes, in which Asuka has her deepest, darkest memories brought to the surface, further compounding her insecurities. As her forced introspection reaches the point of climax, the viewer is presented with a total deconstruction of Asuka in every sense of the word. We see her thoughts, desires, and feelings laid before us, and there reaches a point in which we see the beginning of Asuka's downward spiral, her rejection of The Other, most notably manifest in three beings: Her mother, Kaji, and Shinji. | + | The montage sequences that are most notable are the ones presented in the "mind-rape" scenes, in which Asuka has her deepest, darkest memories brought to the surface, further compounding her insecurities. As her forced introspection reaches the point of climax, the viewer is presented with a total deconstruction of Asuka in every sense of the word. We see her thoughts, desires, and feelings laid before us, and there reaches a point in which we see the beginning of Asuka's downward spiral, her rejection of The Other, most notably manifest in three beings: Her mother, [[Kaji]], and [[Shinji]]. |
Here is the final of these mind-rape montages: | Here is the final of these mind-rape montages: | ||
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}} | }} | ||
− | 1.This shot is manifold in dichotomy. First we have what is the obvious: Ritsuko mourning the loss of her cat, and Gendo angry over the loss of the dummy system. But what we have here goes a little deeper than that: What we see now is a Ritsuko who has lost all love for her work, and a Gendo who is working for his love. This shot is a manifestation of the things that it cost the two of them: Ritsuko has lost the things that gave her life justification, Gendo has lost his “soul” and empathy in the process of executing his plan for instrumentality. | + | 1.This shot is manifold in dichotomy. First we have what is the obvious: [[Ritsuko]] mourning the loss of her cat, and [[Gendo]] angry over the loss of the dummy system. But what we have here goes a little deeper than that: What we see now is a Ritsuko who has lost all love for her work, and a Gendo who is working for his love. This shot is a manifestation of the things that it cost the two of them: Ritsuko has lost the things that gave her life justification, Gendo has lost his “soul” and empathy in the process of executing his plan for instrumentality. |
2.What goes even deeper is the symbol that sits in the middle of the two of them: a glowing symbol of NERV. What we can see here is the organization and symbol that brought the two of them together, and then drove the two apart. Unlike the previous image where the composition isn't as important as the words being spoken, here we have an image of the very essence of their relationship. For Gendo, NERV is a tool to retrieve his wife. Thus, for the most part he treats those who are a part of it like tools. His emotional detachment to many of the characters is quite obvious throughout the series. For Ritsuko, however, NERV is the justification for her being, what makes Ritsuko Ritsuko is NERV itself, and she treats it very seriously. A classic “conflict of interests” manifested through the organization itself is brilliantly played in this scene through both words and visuals. | 2.What goes even deeper is the symbol that sits in the middle of the two of them: a glowing symbol of NERV. What we can see here is the organization and symbol that brought the two of them together, and then drove the two apart. Unlike the previous image where the composition isn't as important as the words being spoken, here we have an image of the very essence of their relationship. For Gendo, NERV is a tool to retrieve his wife. Thus, for the most part he treats those who are a part of it like tools. His emotional detachment to many of the characters is quite obvious throughout the series. For Ritsuko, however, NERV is the justification for her being, what makes Ritsuko Ritsuko is NERV itself, and she treats it very seriously. A classic “conflict of interests” manifested through the organization itself is brilliantly played in this scene through both words and visuals. |
Revision as of 00:28, 4 May 2020
"Making something... Nurturing something is really great. You can see and learn so many things from the process." |
Evangelion is usually looked at in a narrative sense, but it is necessary to also assess it at the technical level of cinematography, and specifically in this essay, at the level of montage. There are several montage sequences in the series, but they are most notable and pronounced in Episodes 14, 22, and 26'. Though there are others, the montage sequences in these three episodes will be broken down in the first edition of this critical essay.
This page is being adapted from the User:Ran1 page, mostly with material from the original author. Please refer to him if you wish to discuss it.
Introduction to the Classical Theory of Montage:
The montage theory was developed by Soviet filmmaker/theorist Sergei Eisenstein in 1922 with his seminal cinematic treatise A Dialectic Approach to Film Form. This treatise, in summary, presented the theory in these terms:
- 1.The images in the montage are not there for the explicit reason of existing as separate identities. The key aspect of the montage sequence is that the images are all linked to one another. Each image's meaning builds and is built upon by the previous and consecutive images.
- 2.According to Eisenstein, the montage theory solved the “specific problem of cinema”- medium specificity.
- 3.The montage is, in essence, is “a conflict between images” in which the incomplete subtext from the previous two images “collide” together, and present a newer, complete meaning at the end of the montage.
An application of this theory in Evangelion would be this sequence of shots:
{{MontageBox |float = left |columns = 3 |title = Montage Sequence |image1 = |image2 = |image3 = |caption = Episode #22 Cuts
- A) In this shot, we see a beam of light shine down on Tokyo-3, aimed at Evangelion Unit 3. The NERV members watch it anxiously. But what exactly is going on? What type of angel attack is this? As it can bee seen, this image is incomplete on its own, and, without its succeeding images, would be a shot that would have little meaning.
- B) Now,we have an image that depicts one of the computer terminals reading statistics on what appears to be [[Asuka|Asuka's] brain waves. As it can be seen, the waves have risen sharply. Something is going on, it is just unclear as to what exactly it is. This shot has built upon the greater meaning of the first, and this is a step in understanding the montage. But what follows next will actually reveal the nature of the montage.
- C) And there is the meaning! Asuka has been attacked by the angel-- that is to say, that our worst fears have been realized. The light, the rainbow, and then Asuka herself were all shots that, when built upon each other, are able to give the viewer context and meaning. Though this seems like a very basic and obvious deconstruction of those three images, when it comes to actually assessing the visual discord in the rapid paced montages in Asuka's mindrape later during the episode, this kind of basic knowledge must be there-- otherwise we will possibly look at the montage images in seperate entities. This cannot be risked due to losing a greater meta-meaning in the montage sequence itself.
}}
How versed is Anno in in these techniques?
With these fundamental aspects in mind, let it be known that it is currently unclear whether or not Anno had ever come across any of Eisenstein's theoretical papers. Any good student of film or animation should at some point, because his theories were extremely important to the development of modern cinema, but it should be realized that the status of Anno as a good films student is a matter of question – considering that he admitted to being familiar with Jean Luc Godard, another important montage theorist, but became familiar with several Japanese filmmakers who used Godard's techniques in a similar fashion.
The montage, and the theory behind it, however, has been more or less assimilated into the universal film-making language, however. To say that these montage theory is irrelevant due to the fact that it is still in question about Anno's familiarity with the subject, it is most likely the case that he was knowledgeable about it just by being able to make one.
Episode 22
The montage sequences that are most notable are the ones presented in the "mind-rape" scenes, in which Asuka has her deepest, darkest memories brought to the surface, further compounding her insecurities. As her forced introspection reaches the point of climax, the viewer is presented with a total deconstruction of Asuka in every sense of the word. We see her thoughts, desires, and feelings laid before us, and there reaches a point in which we see the beginning of Asuka's downward spiral, her rejection of The Other, most notably manifest in three beings: Her mother, Kaji, and Shinji.
Here is the final of these mind-rape montages:
Montage Sequence | |||
Episode #22 Cuts
|
Flash-sign Montage Sequence 3 | |||
"Episode 22 Cuts"
SHOTS 22-25: But the only way she can maintain this control, it seems, is by making others feel inferior, thus driving them away from her. With no one to control, she is no one. Normally, being this terrible to people, being this commanding, would be anathema to most, but the next shot of Asuka looking on in terror is inverted -- revealing that she is not terrified at her own mental creation, but, as the next shot proves, thrilled, insanely, maddeningly happy about it. This, amplified by the the fish-eye lens, and the following distorted shot, seems to show that Asuka is indeed twisted. And if that was not enough, the montage ends with the "accusative Asuka", effectively saying: "THIS IS YOU." |
It is apparent in the context of the montages as well, even the mindrape itself, Asuka is continually placed in positions of weakness. This is evidenced by the "Arael avatar" standing over the fetal-position, naked Asuka, and the "one of many" crowd scene. More on this later, because I am awaiting feedback.
- For differing opinions and discussions about these images, please take a look at this thread
Subverting Wide-Shot stereotypes in Episode 24 of Neon Genesis Evangelion
There is a reasonable adage about the use of the wide or extreme-wide shot in anime series: they are used to save money. With the audience lacking the ability to see the small mouth movements, the animators are able to save frames, and save funds on the production budget. However, amongst fans of a more visceral type, these shots can often seem “lazy” at best, or seemingly a forewarning of a rapidly failing production.
Evangelion was no stranger to these production troubles-- the ship was sinking fast around the time that the last five or so episodes were made. But that being said, these wide shots do not seem to fit the usual “lazy” stereotype that seems to fit so well on the mantle of other anime series that were made with much less directorial care than Evangelion. In fact, in a way startling similar to other media that have used the wide shot, these compositions often give the impression of a “painting” rather than simply a frame of animation.
Following Eisenstein's memorable words that “cinema is a synthesis between art and industry”, there is no reason why the “budget-saving” wide shots in Evangelion can't be artistic. With the help of some sub textual readings into the wide shots on both a narrative and technical level, this essay hopes to present that Evangelion's wide shots are indeed a manifestation of Eisenstein's synthesis.
For the sake of reference, the following wide shots will be used for the sake of this argument:
Episode 24 Wide Shots | |||
"Episode 24 Shots" Wide shots used for argument |
1.This shot is manifold in dichotomy. First we have what is the obvious: Ritsuko mourning the loss of her cat, and Gendo angry over the loss of the dummy system. But what we have here goes a little deeper than that: What we see now is a Ritsuko who has lost all love for her work, and a Gendo who is working for his love. This shot is a manifestation of the things that it cost the two of them: Ritsuko has lost the things that gave her life justification, Gendo has lost his “soul” and empathy in the process of executing his plan for instrumentality.
2.What goes even deeper is the symbol that sits in the middle of the two of them: a glowing symbol of NERV. What we can see here is the organization and symbol that brought the two of them together, and then drove the two apart. Unlike the previous image where the composition isn't as important as the words being spoken, here we have an image of the very essence of their relationship. For Gendo, NERV is a tool to retrieve his wife. Thus, for the most part he treats those who are a part of it like tools. His emotional detachment to many of the characters is quite obvious throughout the series. For Ritsuko, however, NERV is the justification for her being, what makes Ritsuko Ritsuko is NERV itself, and she treats it very seriously. A classic “conflict of interests” manifested through the organization itself is brilliantly played in this scene through both words and visuals.
1.This shot is manifold in dichotomy. First we have what is the obvious: Ritsuko mourning the loss of her cat, and Gendo angry over the loss of the dummy system. But what we have here goes a little deeper than that: What we see now is a Ritsuko who has lost all love for her work, and a Gendo who is working for his love. This shot is a manifestation of the things that it cost the two of them: Ritsuko has lost the things that gave her life justification, Gendo has lost his “soul” and empathy in the process of executing his plan for instrumentality.
2.What goes even deeper is the symbol that sits in the middle of the two of them: a glowing symbol of NERV. What we can see here is the organization and symbol that brought the two of them together, and then drove the two apart. Unlike the previous image where the composition isn't as important as the words being spoken, here we have an image of the very essence of their relationship. For Gendo, NERV is a tool to retrieve his wife. Thus, for the most part he treats those who are a part of it like tools. His emotional detachment to many of the characters is quite obvious throughout the series. For Ritsuko, however, NERV is the justification for her being, what makes Ritsuko Ritsuko is NERV itself, and she treats it very seriously. A classic “conflict of interests” manifested through the organization itself is brilliantly played in this scene through both words and visuals.
1.This shot is manifold in dichotomy. First we have what is the obvious: Ritsuko mourning the loss of her cat, and Gendo angry over the loss of the dummy system. But what we have here goes a little deeper than that: What we see now is a Ritsuko who has lost all love for her work, and a Gendo who is working for his love. This shot is a manifestation of the things that it cost the two of them: Ritsuko has lost the things that gave her life justification, Gendo has lost his “soul” and empathy in the process of executing his plan for instrumentality.
2.What goes even deeper is the symbol that sits in the middle of the two of them: a glowing symbol of NERV. What we can see here is the organization and symbol that brought the two of them together, and then drove the two apart. Unlike the previous image where the composition isn't as important as the words being spoken, here we have an image of the very essence of their relationship. For Gendo, NERV is a tool to retrieve his wife. Thus, for the most part he treats those who are a part of it like tools. His emotional detachment to many of the characters is quite obvious throughout the series. For Ritsuko, however, NERV is the justification for her being, what makes Ritsuko Ritsuko is NERV itself, and she treats it very seriously. A classic “conflict of interests” manifested through the organization itself is brilliantly played in this scene through both words and visuals.
Episode 24 Wide Shots | |||
"Episode 24 Shots" Wide shots used for argument |