By Danny Peary
Cult Sci-Fi videos is a suite of 10 essays that study, dissect, shield, and exalt the greats of vintage cult sci-fi motion pictures. movie geeks, cinema snobs, VHS creditors, and someone else who likes their leisure a bit at the bizarre aspect will savour writer Danny Peary’s in-depth method of their favourite sci-fi motion pictures starting from Barbarella to Liquid Sky.
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Additional resources for Cult Sci-Fi Movies: Discover the 10 Best Intergalactic, Astonishing, Far-Out, and Epic Cinema Classics
E . it must prompt the necessary attention and suspense , it must plant important information, but also set the tone and atmosphere that prepares for the film to come . Accord ingly, the classical, closed film form usually introduces in the first few minutes either an enigma to be solved in the rest of the film, or a deadline that commu nicates to the spectator from the very beginning at what point in (diegetic) time the story will come to its narrative climax. Either way , the film puts (some of) its cards on the table from the very start, exposing its rules, or to change the metaphor: staking out its goal , and mapping its playing field .
Thus , in the wake of his STAROE I NOVOE ! GENERAL' NAJA LINIJA (Sll, 1 92 6-9 , OLD AND NEW/THE GENERAL LINE) Eisen stein formulated a typology of five varieties of montage . 27 Metric montage is a purely temporal measurement and based on "the absolute length of the shots" ( 1 86) . RhythmiC montage creates a relation between the length of individual shots and their content. As an example , Eisenstein uses the famous O dessa steps sequence from POTEMKIN in which the movement of the soldiers coming down the stairs affects the tempo of montage : "There the ' drum-beat' of the soldiers' feet descending the steps destroys all metrical conventions .
Instead, for Eisenstein, the shot is a cell , and just like a living organism, it is a self-contained part that nonetheless fulfills a specific function within a larger whole : "The shot is by no means a montage element. The shot is montage cell . [ . . ] What then character ises montage and, consequently, its embryo , the shot? Collision . Conflict ,, between two neighbouring fragments . 24 Following this idea of the conflict as the fundamental relation between shots, Eisenstein - basing himself on experi ments conducted under the guidance of the theatrical innovator V .
Cult Sci-Fi Movies: Discover the 10 Best Intergalactic, Astonishing, Far-Out, and Epic Cinema Classics by Danny Peary