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Keyword : Montage
1.

A comparative analysis of the American architect Frank Lloyd Wright's theoretical and practical speculations on glass and Soviet director Sergei Eisenstein's proposed first sound film project for Paramount, ??The Glass House??.

2.

A review essay of Sam Rohdie's recent book on the art of editing.

3.

Robert Robertson continues his research into previously untapped intellectual/philosophical strains in the work (film and theory) of Sergei Eisenstein, looking at parallels to the American architect Frank Lloyd Wright.

4.

An historical contextualisation of Santiago Álvarez' bold political/experimental short films.

5.

An analysis of Eisenstein's most abstract montage type, 'intellectual montage.'

6.

An exploration of the art of fight choreography as defined by wuxia pan master King Hu.

7.

An analysis of the great montagists Sergei Eisenstein’s interest in synaesthesia and occult traditions.

8.

First of two part essay on Eisenstein's audiovisual strategies for his sound film Que Viva Mexico! and how his use of music and noise relates to his concept of 'nonindifferent nature'

9.

First of two part essay on Eisenstein's audiovisual strategies for his sound film Que Viva Mexico! and how his use of music and noise relates to his concept of 'nonindifferent nature'

10.

Bresson's inimitable filmmaking style has its echo in his writing style.

11.

An ideological analysis of the form-content bias in Birth of a Nation (1915).

12.

This essay offers a Deleuzian analysis of the great Russian filmmaker Andrei Tarkovsky's montage theory of time-pressure, foregrounded against the historical backdrop of Eisenstein's montage of attractions.

13.

Part two of Menard's unique 'cine-physics'.

14.

Totaro explores how certain styles of filmmaking (montage vs. long take style) may be used to activate different cognitive states ('intellect' versus 'emotion').

15.
The Limey  

Steven Soderbergh balances arthouse modernism with conventions of the classical genre to produce nouveau gangster chic.

16.

An in-depth analysis of an overlooked silent film classic by Russian emigré Dimitri Kirsanov.

17.

Sergei Eisenstein has always been the pride of the Soviet cinema, but it was not until after perestroika, and especially after the collapse of Communism, that Russian theoreticians began to freely explore the national-psychological roots, cultural


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