concept montage-theory ◆ established
Montage of Attractions
theoretical concept developed by Sergei Eisenstein, originating from his work in theatre, that advocates for structuring a work around a sequence of calculated shocks or 'attractions.' Each attraction is an aggressive, independent moment designed to provoke a specific emotional and psychological response in the audience, with the montage creating a new meaning from their collision. This concept originated in Eisenstein's work in the theater, influenced by the aggressive, non-narrative shocks of circus and music-hall performances, before he adapted it for cinema. Originating in Eisenstein's work in theatre, an 'attraction' is any aggressive, shocking moment designed to subject the spectator to a specific emotional or psychological influence, ultimately guiding them toward the work's ideological conclusion. This concept of calculated emotional shocks later evolved into his theories of audiovisual montage. The goal was to create a chain of cause and effect that would have a direct, determinable impact on the spectator's consciousness, effectively nullifying the distance between the screen and the brain.
notes
The 'movie graffiti' ethos of a collective like Racer Trash is a modern, digital-native evolution of the Montage of Attractions. Instead of juxtaposing shots, they juxtapose entire media forms—a classic film, a tweet, a 3D graphic, a fake commercial—to create a new kind of intellectual and emotional shock.
visual examples
- Eisenstein's theatrical production of *Enough Simplicity for Every Wise Man* (1923) — The production included a short film insert, which is considered the first practical application of the theory, using shocking images to jolt the theatre audience.
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