Abstract
In photograph the association of images occurs in sequential photographs, photographic series, essays or in in selecting photos to exhibition through photo books, galleries, installations, etc. The film, on the other hand, consists in slices of time and space, that united and organized through the montage can generate a narrative.The process of photographic post-production, the one that starts in the instant after the click, can be closely compared to the montage and post-production film process, once the union of two or more images generates a new meaning, different from the isolated meaning of each one. This idea can be used both in the film editing, as well in the conception of photographic narratives.And this is what paper proposes, reflect about the correlations between the cinematographic montage and photographs selection for the narratives construction.In cinema montage theory there are some extremely important theorists and directors that can be availed when we think about photographic “montage” and the discourse construction through the association of images. In this way the text approaches some the most important directors and theorists of film editing, seeking to reflect about their methods and how they can be applied in the photographic “montage” and how they can contribute to expand photography narrative possibilities through the images association to generate new discourses.
Highlights
The process of photographic post-production, the one that starts in the instant after the click, can be closely compared to the montage and post-production film process, once the union of two or more images generates a new meaning, different from the isolated meaning of each one
In cinema montage theory there are some extremely important theorists and directors that can be availed when we think about photographic “montage” and the discourse construction through the association of images
In this way the text approaches some the most important directors and theorists of film editing, seeking to reflect about their methods and how they can be applied in the photographic “montage” and how they can contribute to expand photography narrative possibilities through the images association to generate new discourses
Summary
Considerando então que o filme é composto por diversas fotos sequenciais, não seria absurdo supor que as etapas de pós-produção de um filme e da fotografia carregam suas semelhanças. Feito isso a montagem se inicia, e ele colocará os planos escolhidos numa sequência lógica de modo a gerar um sentido, uma narrativa. Tendo consciência dessa semelhança da pósprodução fílmica e fotográfica, o fotografo pode utilizar-se de teorias da montagem cinematográfica para ajudá-lo na criação de narrativas mais efetivas, ao passo que os montadores podem inspirar-se em seleções de séries de grandes fotógrafos com o mesmo intuito. Burmester discorre em sua tese sobre as aproximações, cada vez mais frequentes, entre cinema e fotografia, trazendo diversos exemplos de como uma linguagem influencia a outra. A seguir abordaremos alguns dos mais importantes realizadores e teóricos no que se refere à montagem, buscando refletir sobre alguns de seus métodos e como eles podem ser aplicados na “edição” fotográfica
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