Reference no: EM133234932

Question 1. According to the short video in the notes called, "1925: How Sergei Eisenstein Used Montage To Film The Unfilmable", Eisenstein pioneered five kinds of montage techniques. Theses were metric, rhythmic, tonal, overtonal, and intellectual. One of them involves a kind of montage where two or more shots or sequences, each with meanings of their own, and then to combine them to create an entirely new meaning that is not present in the shots or sequences on their own. Which of the five types of montage is this approach?

Question 2. _ is one of the more famous directors to emerge out of Germany's Das Neue Kino movement. His film's can be difficult to watch at times, especially his first ones where he favored a static camera and tableau framing (where the characters face the camera directly). In many cases, entire scenes would enfold from these distant compositions and there would be no movement. (Hint - watch the video essays on Herzog and Fassbinder).

Question 3. We are watching and analyzing Nosferatu by F. W. Murnau. However, he made other great films. In episode 3 of the Story of Film, Mark Cousins focuses the documentary on another Murnau film that is considered great. Which Murnau film is highlighted in The Story of Film?

Question 4. According to episode 3 of The Story of Film, this Japanese filmmaker is known for attacking the arrogance of Japan (especially the illusions of nobility in samurai lore) through a bang-up modern style. Instead of romantic heroes, his films focused on the struggle of Japanese women.