Due to this development, which empowered viewers and turned them into creative users, today, video mashups, re-dubbings, remixes and other creative audio-visual practices are not so original, let alone noticeable.
It is helpful to first understand montage within a historical framework: I will first detail the early Soviet films, where montage began. It is of vital importance to keep in mind that this revolutionary cinema was just that: With the purpose to incite, came the one of the most powerful tools in cinema: This tool is highly poetic because it can be used to convey in the cinema what is the parallel to the literary metaphor.
Furthermore, montage could be used to establish rhythm in a film, with the change in cuts giving excitement through the dynamic editing.
Essential to the aims of Soviet cinema was the power to incite; something that stressed disjunction and fragmentation.
When sound cinema finally came to Russia, the directors purposely mismatched the sound with the image to create an even further disruption. Soviet cinema insisted on shaping the cinematic medium to meet the message it was intent on conveying. Thus, while it may come across to American viewers as heavy-handed propaganda, Soviet cinema attacks the notion of a smooth cinema that makes the audience passive; and as a result, Soviet cinema brought many new devices to the still new cinematic language.
Not all montage has to be like the Soviet style, however. Montage can be used as a device for establishing spatial and temporal relationships within a movie. In fact, most action and suspense movies rely on the power of montage to create excitement.
A famous director who uses montage to create suspense is Alfred Hitchcock.
The concept of montage has its parallels in other art mediums; an example of this is collage. While collage is in fact a technique for making art, much of its power resides in its theoretical implications, such as the importance of juxtaposition to the collage technique: This technique is often used to take elements of and create art of them, Furthermore, this juxtaposition of multiple seemingly different things challenges the unity of conventional art forms and thus challenges the grand narrative of art.
Christine Poggi remarks on the collage: When thinking about the collage, it can be helpful to learn about artists who use this technique. One specific artist that is renowned for his experimentation with the collage is Pablo Picasso. Picasso viewed art as a re-presentation of nature rather than an imitation.
Thus Picasso would use materials from popular culture and give them new meaning, as in his guitar collage. Poggi remarks on this: Thus mass culture becomes the world from which Picasso gets his material literallyand his brilliance lies in his successful re-combination of mass culture to bring interesting connections between seemingly different artifacts of modernity.
Interestingly, when thinking of such things as bluescreens and digital image manipulation, it is evident that collage has taken on a further meaning in the temporal visual mediums. The concept of collage can now be used as a means of manipulation of images without the viewer realizing it.
Also important to the collage is the pun; Francis Frascina explains: The concept of the double meaning is essential for the collage; as the Group Mu Manifesto states: Collage is not the only parallel technique to montage, however. The use of collage and montage can be seen in poetry, such as in the writing of T.
Eliot, where sets of seemingly arbitrary words are strung together to create new meanings.
Thus, while collage and montage are usually associated with visual art, they actually apply to a wide array of mediums. In Encyclopedia of Aesthetics, edited by Michael Kelly. New York and Oxford, An Introduction to Semiotics and Cubism.[Eisenstein’s] political and aesthetic disagreements with Upton Sinclair (a key financial backer of the film) over the film’s composition; the difficulty of gaining mass distribution for the film; and Stalin’s demand that Eisenstein stop filming and immediately return home before being deemed a deserter to .
Eisenstein's Montage of Attractions. etc which is ideologically informed allowing for the ideas to be expressed through the medium of film. (For Eisenstein, all art is ideologically informed and shaped by virtue of being a part of the time that it comes into being).
The success of a production depends upon its ability to affect the. A popular drawing medium during the Renaissance consisted of a stylus of gold, silver, or other metal that was dragged across a prepared ground of lead white, .
The Chicago School of Media Theory Theorizing Media since Digital Storytelling; History; Keywords. absence/presence; montage could be used to establish rhythm in a film, with the change in cuts giving excitement through the dynamic editing. The concept of montage has its parallels in other art mediums;.
M o n t a g e an introduction. Montage: history A deﬁnition: The process or technique of selecting, editing, and accord in "A Dialectic Approach to Film Form" when he noted that montage is "the nerve of forth explanations of what constitutes the montage effect, Eisenstein's view that "montage is an idea that arises from the collision.
The film’s careful selection and montage of clichés quickly trains us, and ultimately asks us to think in conjunction with the film’s creative process. Pálfi mobilizes his viewers’ meta-narrative cinéphilia when he invites us to bring in our own collection of cinematic clichés.