ABSTRACT
Sergei Eisenstein had any number of technical approaches in each cinematic montage he created, but the one with the most relevance to Arendell's study is one he termed tonal montage. Although we might first assume that Eisenstein uses tonality here as a musical reference, and for artists such as Meredith Monk, whom Arendell addresses later in the book, tonality is largely a way to describe musical phrases as well as filmic choices. But for Eisenstein, tonality meant a step in film development that moved beyond musical concerns. Eisenstein explains tonal montage as the furthest development of rhythmic montage, making it the perfect term to discuss the emotional sound of Pina Bausch's pieces. Arendell argues that Bausch's movement phrases exist in their own relation to space and time with a strong emotional overtone. This is no doubt what gives her dances a feeling of weighted depth, an inescapable emotive force. What lies in the accumulation of montaged images is a more peripheral sense of perception, and for both Bausch and Eisenstein there would be no film and no dance without montage.
