Abstract
The concept of montage, created by S.M.Eisenstein, is one of the most epochal and polemic in the whole history of film art. One of the methods which worked as a good catalyst for the development of Eisenstein’s film language is Far Eastern culture and Japanese art in particular.
The influx of Japanese culture upon Russia started from the popularity of Japanese color print in Europe and political trends after Russian-Japanese War. Eisenstein, rooted in both European cultural background and political stance, was impressed by his mentor V.E.Meyerhold’s acceptance of Japanese culture.
Among the oriental references studied by Eisenstein and applied to the theory and cinema, there were many Japanese aesthetic and philosophic ideas and trends such as the process of forming hieroglyphics, the images of Haikai and Tanga, Kabuki theatre and Japanese portrait. According to Eisenstein, these are all similar to what cinema does. In other words, two pieces collide to create a new meaning through dialectical process.
His concept of montage, which was actively studied with the help of oriental culture as a catalyst, is still topical. And it helps greatly to create a new film language. Although it is often used in mainstream cinema, such as Holwood blockbusters, the aesthetic meaning of film art has been evolving on the basis of montage..
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