In Sergei Eisenstein's montage theory _________________ is a cut in which the edit "collision" is based on the composition, visu
al patterns, and/or movement within individual shots in succession. a. tonal montage
b. expressive montage
c. rhythmic montage
d. overtonal montage
e. metric montage
In Sergei Eisenstein's montage theory _________________ is a cut in which the edit "collision" is based on the composition, visual patterns, and/or movement within individual shots in succession.
c. rhythmic montage
Explanation:
A rhythmic montage in soviet montage theory is a pattern of continuity in which keep changing in a sequence of visual movement that also experiments different shots. This is our correct answer because as we can see in the exercise above we need an element that separates two different moments in the film. One that is based on sequences of movement of individual shots.
A tonal montage does not have to do with the time but with the tone of the film making. It has to do with the tones, shadows, and light in each shot that gives the movie their visual identity.
I picked the third answer because to me that's the only one that makes sense. All the others answers either didn't make sense or was just worded weird. Hopefully this helps!
