tag:blogger.com,1999:blog-786207835641480928.post8108884508434418343..comments2024-03-28T12:59:41.910-04:00Comments on NeverEnding Story: Dark Wings of the Night: Sergei Eisenstein's View of Haiku as Montage Phrases/Shot ListsChen-ou Liu, 劉鎮歐http://www.blogger.com/profile/06235248170011255532noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-786207835641480928.post-74995476983523164302014-01-17T20:00:30.731-05:002014-01-17T20:00:30.731-05:00 Below are three cinematic haiku that were publish... Below are three cinematic haiku that were published on NeverEnding Story. See my detailed analyses in their comment sections:<br /><br />Spring evening --<br />the wheel of a troop carrier<br />crushes a lizard<br /><br />-- Dimitar Anakiev<br />(accessed at http://neverendingstoryhaikutanka.blogspot.ca/2013/01/butterfly-dream-troop-carrier-haiku-by.html)<br /><br />a poppy . . .<br />a field of poppies!<br />the hills blowing with poppies!<br /><br />-- Michael McClintock<br />(accessed at http://neverendingstoryhaikutanka.blogspot.ca/2013/01/butterfly-dream-poppy-haiku-by-michael.html)<br /><br />through the smoke<br />dark red lips<br />of a drag queen<br /><br />-- Kirsten Cliff <br />(accessed at http://neverendingstoryhaikutanka.blogspot.ca/2013/03/butterfly-dream-haiku-about-drag-queen.html)Chen-ou Liu, 劉鎮歐https://www.blogger.com/profile/06235248170011255532noreply@blogger.comtag:blogger.com,1999:blog-786207835641480928.post-55191175528718975772014-01-17T19:57:56.614-05:002014-01-17T19:57:56.614-05:00In his essay, entitled "Matsuo Basho and The ... In his essay, entitled "Matsuo Basho and The Poetics of Scent," Haruo Shirane writes about the comparisons between Basho's poetics of scent and the montage techniques employed in modern cinema:<br /><br />Basho's poetics of scent and mutual reflection may be compared to the montage in modern cinema in which a succession of seemingly unrelated shots are closely linked by connotation or overtone. Sergei Eisenstein, a pioneer in film production and theory, once defined montage as "an idea that arises from the collision of independent shots" and that may result in "emotional dynamization."9 A montage equivalent of the meditative nioi link-nioi in the narrow sense-might be the scene of a young aristocratic lady strolling across a well-manicured garden followed by a shot of a swan gliding across the water, the subdued but elegant moods of the two gently intersecting. A hibiki montage, on the other hand, with its dramatic tension or emotional intensity, might be the cinematic juxtaposition of an explosion rocking a brick building and a sleepy-faced lion suddenly roaring. A cinematic utsuri ("transference") link could be a scene of a couple kissing followed by a shot of an avocado being peeled. The second scene, while unrelated to the first, is obviously "colored," given a definite sexual resonance. The sense of sexuality is transferred from one scene to the next. A kurai link might be the juxtaposition of a shot of a beggar on a city street with the shot of a dog emerging from a mud puddle. In the montage, the second shot deepens a particular emotional effect found in the first shot, or vice versa, the combination often creating Eisenstein's "emotional dynamization," an emotional reverberation that neither of the shots by itself could produce."10<br /><br />9 Sergei Eisenstein, Film Forum Essays in Film Theory and Film Sense, trans. Jay Leyda, A Meridian Book (Cleveland/New York: The World Publishing Company, 1957), 49, 57.<br /><br />10 Nose Tomoji, Renku no geijutsu no seikaku (Kadokawa shoten, 1970), 19-20.Chen-ou Liu, 劉鎮歐https://www.blogger.com/profile/06235248170011255532noreply@blogger.com