Montage Technique Research Articles

Penerapan Media Gambar Berseri Berbantuan Teknik Montase Pada Pembelajaran Keterampilan Menulis Narasi Siswa Kelas V Sekolah Dasar

This research aims to determine the ability of narrative writing skills through serial image media assisted by montage techniques. This type of research is classroom action research which consists of two cycles. Data analysis techniques were carried out descriptively, quantitatively and qualitatively. The subjects of this research were teachers and students of class V at SDN 5 Salamae, Palopo City. Based on the research results, it was found that the increase in writing skills in the pre-cycle was 47.30%, the results of learning to write narratives using serial image media assisted by montage techniques showed an increase from an average value of 65.96% in cycle I to 76.38% in cycle II. . Based on these results, serial image media assisted by montage techniques is recommended for learning narrative writing skills in elementary schools.

From before to after – bridging the gap: photography, art and the state in J.M. Coetzee’s late fiction

ABSTRACT Coetzee’s early interest in photography provides the stimulus for this paper, which argues that photography serves as a useful gateway into his novel-writing, with a particular focus on his before-and-after pairing of school photographs. The paper traces a line between this early interest and themes of individual resistance to co-optation by the state that would later come to define Coetzee’s fictional work. It contends that his experimentation with ‘before-and-after’ technique in photography taught him valuable lessons that would later be used to disassemble narratives that compel individuals to conform to societal expectations. The paper includes a detailed examination of the way that Coetzee challenges the social structures of both family and the school in the ‘Jesus’ trilogy, developing methods which arguably have their origin in the early photography, techniques of juxtaposition, seriality and montage. The thesis is that ‘photographic thinking’ has remained an influential feature of Coetzee’s work throughout his writing career, albeit with significant changes that are discussed here.

The Effectiveness of montage play therapy on the development of preschool childrent (5-6 year) in Pembina Jebres Kindergarten

Background: Early childhood is when a child is 0–8 years old. The golden age is the age when children experience fast and rapid growth and development. If there is a delay in a step of a child's development, it will affect other developments.. One of the games that can stimulate children's development is montage. Objective: The purpose of this study is to determine the effectiveness of the development of preschool children (5–6 years old) in Pembina Jebres Public Kindergarten.Methods: This research method uses quantitative methods with pre-experimental methods using a one-group pre- and post-test design. Results: The results of this study show that montage play therapy is effective on the development of preschool children (5–6 years old) in Pembina Jebres Public Kindergarten, with proven statistical tests showing a p value <0.000.Conclusion: Parents can do montage therapy to stimulate child development. Educational institutions develop media to stimulate child development with montage techniques

Lingual Means of Creating Cinematic Effect in the English Literary Text

The article is devoted to the cinematic effect within a descriptive language register of the English literary text. The article reveals the essence of cinematic effect as a literary technique based on cinematographic montage composition style that is the use of certain compositional-syntactic means to create brisk, dynamic description and represent a viewer’s shifting perspective. Cinematic effect enhances the plausibility of the literary text and should be considered more than just an imitation of
 cinematographic montage techniques but rather a lingual reflection of the natural process of perception and interpretation. The article reveals the concept and characteristic features of the descriptive language register of a literary text as a model
 for representing events, where the speaker describes what is actually observed at the moment of speech through sensory experiences. The article provides a thorough analysis of linguistic means of creating a cinematic effect within the framework of the
 descriptive language register of a literary text. The special attention is paid to lingual means that manifest the perception by various modalities, and their role in creating a cinematic effect within the descriptive language register of a literary text. The author concludes that the use of the reproductive register is predefined by the genre peculiarities of the material under study, since the way of representing events within the framework of the descriptive language register is most conducive to conveying viewer’s shifting perspective, the effect of the reader's direct presence at the events described, i.e. cinematic effect

Descriptions in V.V. Nabokov’s texts: perfecting techniques in competition with the cinematic language (to the 125th anniversary of the birth)

The article discusses innovative techniques for constructing descriptions in V.V. Nabokov’s texts "Camera Obscura" ("Laughter In The Night") and "The Enchanter". The relevance of the topic is due, on the one hand, to the unsettled issue of identifying invariant description features and attributing the peripheral forms of description. On the other hand, there are no works that fully reveal V.V. Nabokov’s technique of creating descriptions. The research is based on advances in the study of this author’s visual poetics, interest in which has been growing in recent years. The article used lexico-semantic, morphological, syntactic analysis of individual linguistic units. Moreover, linguostylistic text analysis, intertextual and semiotic analysis, content analysis were employed in conjunction with a comparative analysis of the two texts reflecting the dynamics of V.V. Nabokov’s individual style. The study has shown that descriptive fragments in the texts by this author mostly do not have clear boundaries and can overlap or alternate with the narrative even within the same sentence. The article proposes to call this technique "fusion style". It is concluded that one of the important functions of V.V. Nabokov’s descriptions is the embodiment of the film of life mega-metaphor. The language of description borrows techniques from the cinematic language, for instance, montage techniques, double exposure through superimposure, and sound images. The research has identified stylistic devices that can iconically embody cinematic language elements. These include blending, ellipsis, extended allusions, double similes, and paronomasia. The paper concludes that the density of these techniques in V.V. Nabokov’s texts increases as he gains mastery. It is shown that the writer objectifies visual poetics with the help of such linguistic means as embedded structures and absolute constructions, enumerations, groups of nominal sentences.

UKRAINIAN POSTCOLONIAL NOVEL AS A NATIONAL NARRATIVE: “THE MUSEUM OF ABANDONED SECRETS” BY O. ZABUZHKO AND “THE BEECH LAND” BY M. MATIOS

The article examines the seminal novels of Ukrainian women writers from the first and second decades of the 21st century, namely “The Museum of Abandoned Secrets” (“Музей покинутих секретів”, 2009) by O. Zabuzhko and “The Beech Land” (“Букова земля”, 2019) by M. Matios. The selected works are analyzed through the lens of postcolonial criticism, that is, from the point of view of the historical experience of the statelessness of the Ukrainian community and its reflection in literary texts. The main attention is paid to the narrative features of the works, namely the tendency to broad narrative, integrity, and narrative completeness. The purpose of the study is to highlight the postcolonial content of the narrative strategies implemented in the selected novels by O. Zabuzhko and M. Matios. Given that “The Museum of Abandoned Secrets” and “The Beech Land” represent different periods and ideological and aesthetic paradigms, namely postmodernism and metamodernism, one of the tasks of the study is to assert the relevance of postcolonialism in the context of metamodernism. The article aims to highlight the peculiarities of the artistic realization of “postcolonial” narrativity in postmodern and metamodern texts. Additionally, the narrative features of the selected novels are compared. The stated purpose necessitates the application of hermeneutic (interpretation of a literary text), comparative (identification of common and distinctive features of the selected works) methods, as well as the method of structural analysis (examining the narrative structure of the texts). As a result of the study, it is established that postcolonialism, inherent in Ukrainian postmodern prose, remains relevant in the second decade of the twenty-first century. The postcolonial orientation of the novels “The Museum of Abandoned Secrets” and “The Beech Land” is manifested in their intention to affirm the continuity of Ukrainian history by building a panoramic narrative that covers different historical periods and establishes a hereditary connection between them. The study identified the following features common to both novels: the intertwining of family genealogy with national history; the development of narratives at different generational levels – children, parents, grandparents, etc.; the theme of the perpetual war for independence that continues to this day; the image of God as a transcendent guardian of history, capable of seeing the intertwining of human destinies in their entirety. The defining theme shared by both novels is the anti-colonial struggle, particularly the military campaign of the Ukrainian Insurgent Army. This theme necessitates depicting the tragic consequences of imperial oppression. In “The Beech Land”, these are devastation and turmoil, fratricide, ruptured familial ties, the destruction of the Bukovynian “utopia”. In “The Museum of Abandoned Secrets”, these repercussions are shown through the lens of postmodern hypertextuality – as “burnt manuscripts”, irretrievably lost archives, fragmented stories. In addition, the selected novels exhibit an inclination to transcend the boundaries of realistic storytelling. Employing the montage technique, “The Museum of Abandoned Secrets” incorporates a mystical discourse of dreams that operates as a parallel reality, recounting events of the past. The oneiric discourse resonates with the image of an endless virtual archive storing memories of everything that has ever happened in the world. In “The Beech Land”, the departure from realistic historiography occurs through metamodern fantastisation, where the historical panorama is framed by the story of the “Heavenly Chancellery” – a celestial archive inhabited by the Creator and the Angels. The appeal to mystical and imaginative discourses is interpreted as a manifestation of postcolonial longing for lost integrity and completeness. The images of endless imaginary repositories of information complement the incompleteness of history, aiding in overcoming its fragmentary nature and opacity.

Unleashing Argumentation in Netflix’s Docudramas: Illocutionary Pluralism and Multimodal Rhetoric in the Trailer for Queen Cleopatra (2023)

Trailers for movies are generally considered aesthetic independent multimodal fragmented discourse. Since one of the key features of trailers for docudramas is to promote arguments in order to propagate the importance and worthiness of documentaries to be watched, trailers rely heavily on limited fragmented compositions and implicitness to arouse the viewer’s curiosity. This study aims to provide an enthymematic interpretation of the trailer for Netflix’s brand-new docudrama Queen Cleopatra, which has resulted in immense controversy in Egypt since its release in April 2023. Thus, the study investigates how the enthymematic property of the selected trailer is constructed through the illocutionary pluralism in the characters’ argumentative polylogues and presented through the interplay of verbal-visual semiotic resources such as montage techniques, music, moving images, colors, etc. This study adopts Wildfeuer and Pollaroli’s (2017) theoretical framework of multimodal argumentation in movie trailers supported by Lewiński’s (2021) illocutionary pluralism in argumentative polylogues. The framework foregrounds the importance of the surrounding context (Pragma-Dialectics) in multimodal rhetoric and dwells upon two levels: logic of film discourse interpretation and argumentative reconstruction of the movie trailer. Findings have revealed that the interplay of cross-modal devices and speech acts stimulates spectators to form hypotheses and draw inferences on the cinematic discourse they are subsequently invited to watch and thus to retrieve arguments in support of the claim that the advertised documentary is worth watching.

Kathy Acker’s sex negativity

This essay situates Kathy Acker’s work in the feminist sex wars debate of the 1980s. I suggest that the critique of Acker’s work as a “nihilist version of the personal is political” is not ungrounded but might more usefully be understood as a “sex negativity” that emerges from specific feminist avant-garde literary devices. I discuss Acker’s early texts, “Politics” (1972) and “Stripper Disintegration” (1973) to show how sexuality defines Acker’s esthetic and political project. I consider the (negative) feminist reception of Acker’s work, lay out how Acker was involved in the pornography debate, and I bring Acker’s work into conversation with Andrea Dworkin’s thought. The essay argues that Acker’s pseudo-autobiographical strategies and montage techniques pose a problem for the feminist politicizing of self-knowledge and the genre of autobiography as a privileged site of identity formation and emancipation. In the reordering of materials, by way of replacing, exchanging, and negating, transformation is made possible by the act of rewriting’s capacity to reveal substitutability. Acker’s “nihilist” feminist politics challenge the self-determination and authenticity often assumed in the politicizing of lived experience. I also suggest that “the lesbian” functions as a phantasmatic figure in Acker’s early work to circumvent the subject-object logic of the pornographic imagination. In short, Acker’s early work illuminates the complex relation between sexuality, self-objectification, and the act of writing itself. With Acker’s pseudo-autobiographical texts we can conceive of a sex negativity that is not anti-sex but challenges what Michel Foucault calls the “monarchy of sex” through non-positive affirmation.

Gold, cocaine, montage: Latin American sacrifice zones in Michael Taussig’s My Cocaine Museum

ABSTRACT This paper proposes to read Michael Taussig’s My Cocaine Museum (2004) as a forerunner of recent research on the Latin American extractive zone (Gómez-Barris). In his remarkable book, the Australian anthropologist writes on the relation between two prime materials that have an important impact on the past and present of Colombia: gold and cocaine. Focusing on a region close to the Pacific Coast, more specifically the gold-mining village of Santa María, Taussig’s creative work of nonfiction explores the fact that multiple forms of violence (ecological, colonial, extractivist, political) converge in the Timbiquí region. It also makes an innovative move by including cocaine within the discussion on capitalist extractivism. Returning to Taussig’s book is also productive at this stage because it offers a theoretical and artistic starting point for thinking through the social ecologies and the resistance encountered in the extractive region of the Colombian South-West Pacific. Ultimately, this paper argues, My Cocaine Museum constitutes an example of anti-extractivist non-fiction, as it uses montage techniques to create shock, wonder, and hope, to establish unexpected connections between the past and the present, and to revitalise both the Timbiquí region and the official Colombian Gold Museum.

Spacetimeunconscious

This article argues for an understanding of material geographies as invested with an unconscious dimension. I put forward the notion of spacetimeunconscious not as an inverse, double, or ‘other’ to Karen Barad's concept of spacetimematter, but as a supplement. Manifesting the spacetimeunconscious through the technique of montage, I draw together a range of phenomena, from the icing of water and the flashing of lightning to the awakenings of traumatised and displaced subjects. Across these juxtaposed parts, I argue that the unfolding of space and time responds to the enigmatic, irreducible message of the unconscious in the real. Spacetimeunconscious arrives as the ambassador of an unknown knowledge remembered for – or in the place of – a forgetful substance: water, dreamer, or electron. In an echo of the analytic method, I use montage to create generative connections, discontinuities, and instabilities between events, poetry, literature, and film, in the interstices of which the spacetimeunconscious may make an appearance.

Художественное своеобразие романа А. Кампаниле «Так что же такое любовь?»

The article presents an analysis of the first novel by A. Campanile “What is love?” (1927). A. Campanile is a little-known Italian writer-comedian in Russia, whose work has not been sufficiently studied in Italian and foreign literary criticism. The novel “What is love?” is not translated into Russian. In Italy, the novel was a great success, even though the comic tradition at that time was not well developed, critics did not take humorous works seriously. The purpose of this work is to comprehend the role and significance of the author’s heritage in the history of Italian and world literature, consider humorous techniques and analyze the comic technique in A. Campanile’s novel “What is love?” The main methodological basis of the study is a combination of historical-literary, historical-cultural, and comparative methods. The materials presented in the article allow us to conclude that the novel “What is love?” does not have the structure of a traditional novel. The main comic techniques include the disruption of the communication process between the characters, absurd characterizations, the technique of shifting and thickening (Z. Freud). The writer’s passion for mixing styles, montage writing technique testifies to Campanile’s predilection for experimental literature. The text is distinguished by the montage technique of the composition. The writer achieves a comic effect not only through paradox, word play, illogicality, but also through the novel’s unconventional form, structure violation, useless inserts and remarks.

RESISTANCE TO FEMALE STEREOTYPES IN THE ANIMATED FILM MULAN (1998)

The resistance efforts made by women against men, form attitudes and behaviors that refer to efforts to fight and oppose stereotypes against women. It is common for these efforts to be carried out with careful strategists. This research revealed the existence of resistance to female stereotypes carried out in a different way, namely through the animated film Mulan (1998) directed by Tony Bancroft and Barry Cook. The research used descriptive qualitative. Data collection in this study used montage technique and data analysis of Miles and Huberman model. The results of this study show various forms of stereotypes against women that refer to standardization. Stereotypes of women include beautifying themselves to get the right partner; behaving well to their partners and parents; having white skin like a delicate and pale lotus flower; having a small waist; being able to pour tea gracefully, calmly and humbly; being elegant; polite; gentle; not embarrassing; carrying out their duties calmly and respectfully; always thinking in their actions; being authoritative, to bring honour to their family. Mulan as an important character in this movie shows that she indirectly fights against female stereotypes. Keywords: resistance, female stereotypes, film, character, family

Maria, a Tragic Romance of Adventure and Exploitation

Maria, a tragic romance of adventure and exploits, narrates the participation of Satyagrahi volunteers in Goa’s struggle for freedom from the Portuguese rule. The novel ends tragically for the central character, Maria and the country after independence. The seven Indian characters represent seven regions of India: Goa, West Bengal, Punjab, Madras, Uttar Pradesh, Bihar and Maharashtra. Before Independence, all of them were patriots and fighters for freedom; after independence most of them get involved in an atmosphere of anti-national parochial activities. Abbas seems to have been fascinated by the symbolic significance of the number seven. The importance of choosing seven characters belonging to seven different regions of the country is obvious; it gives him an opportunity of presenting the human condition in the country in seven vivid scenes in a fairly representative manner. The cinematographic technique of montage, employed in the novel, shifts the focus of our attention from the situation in one region of the country to that in another.

Primenenie koncepcii narrativnogo montazha v vizual'nom dizajne istoricheskih i kul'turnyh rajonov

The conservation and development of historical and cultural districts is a very important part of the current urban construction and development. This article examines the application of narrative montage in the visual design of historical and cultural districts, combining specific cases to illustrate how the montage technique can be used to enhance the spatial atmosphere and give people a visual impact and emotional resonance.

Montage Theory in the Movie the Devil Wears Prada

Feminism has always been a topic of discussion, and movies about feminism are also emerging in an endless stream. Gender equality in society and women's realization of self-worth and pursuit of dreams have always been advocated today. Therefore, it is meaningful to study feminism. The research theme of this paper is the application and role of montage theory in the film. This paper will mainly analyze the different montage shots in the Devil Wears Prada to analyze how to present the main theme of feminism. Through the analysis of the film lens, it is found that the montage technique clips several separate shots together to present a better effect, showing the confidence and persistence of the protagonist Andy in the workplace, and successfully shaping a female image who bravely pursues her dream.

On Interactive Films in the Context of Film-Game Integration

Under the background of the film-game integration, the cross-media interaction between film and digital games has promoted the burgeoning of interactive films. In light of this situation, this paper attempts to explore interactive film in the digital media era, identifying its ontology and critical features. Firstly, interactive film with image language and montage techniques at its core is inherently associated with games. Secondly, such digital media technologies as AR, VR, and MR and more flexible and available interactive interfaces have made the user’s interventional participation possible, bringing them a more interactive and immersive viewing experience and transforming them as one of the co-authoring branching narrators. On the premise of maintaining the whole story context constructed by the director, the audience coneys more alternative plot events through the diverse path nodes and clue selections, exerting the coupled function of multiple narrative subjects. Finally, the user’s active involvement not only enriches the artistic forms of film but also generates a community for meaning co-creating and sharing and brings the user personalized aesthetic experience.

Steve McCaffery Remixed: “great poems are read from the bottom up”

The following essay is a work of Recombinant Theory. To write this essay, I have performed an elaborate cut-up and montage of Steve McCaffery’s poetic and critical writing, producing over 4,000 recombinant aphorisms that extend from McCaffery’s own poetics, while also refracting his theoretical concepts. Of these 4,000+ aphorisms, I have compiled several in the linear sequence that follows. This essay is an original work of narrative and theory, and it is also fully indebted to McCaffery’s own work. Recombinant Theory is constraint theory, producing critical writing by means of poetic technique. This strategy resonates with the first mandate of the Toronto Research Group Manifesto (written by McCaffery and bpNichol), which states that “all theory is transient & after the fact of writing.” In Recombinant Theory, the essay’s ideas minimally precede the writing process; the cut-up and montage techniques are predetermined, but the process itself determines what recombinant aphorisms will emerge, and what theoretical arc will be produced through the sequencing of these aphorisms. Recombinant Theory chooses not to assess a text at arm’s length, not to summarize any part of a text, not to paraphrase, not to speak on a text’s behalf. Instead, Recombinant Theory speaks with the text, geomantically realigning its energy patterns, infecting the text’s energy while also being infected by it, foregrounding the direct physical impact of material language, waging an attack on the categories of author and reader.

КІНЕМАТОГРАФІЧНА ТРАНСПОЗИЦІЯ КОДУ СЕРВАНТЕСА У ФІЛЬМІ "ДОН КІХОТ" ОРСОНА ВЕЛЛСА

The article is dedicated to the problem of transposition of the Cervantes’s Code in the cinematographic adaptation of the novel Don Quixote by Orson Welles (1957-1992). The study focuses on identifying and revealing the aesthetic and ideological kinship of the film adaptation of the American director with the work of the Spanish writer, as well as on the analysis of methods and mechanisms of actualization of the main thematic, problematic, structural and narrative aspects of the novel of Cervantes at various levels of the Welles’s cinematic poetics. Welles retains the "intellectual" skepticism of Cervantes, but demostrates a greater affinity with the romantic tradition of reading this text, which at his time dominated the cinematic and scientific-critical discourse. The actualization of the anachronism of Don Quixote as one of the key thematic codes of Cervantes's novel is carried out by transferring the action of the novel to the Francoist Spain. The structure of the film reproduces the plot mostly on the basis of the first volume. Working in the "manner of Cervantes", the author of the cinematic adaptation uses a wide range of ludic, metatextual and metanarrative techniques that reveal the "auto-reflexivity" of his text. In addition, Welles' adaptation of Don Quixote transposes the linguistic and stylistic codes of the Spanish author's novel by using the cinematic montage techniques, oblique angle shots, and stylized mise-en-scène (in-depth). Those features, in turn, demonstrate the inherent kinship with the baroque style of the second volume. Welles stresses the ambivalence inherent in Cervantes's text: he criticizes modernity, but uses its achievements (especially the cinema) to implement his own utopian cultural program of the new knight of cinema. Welles's film chosen as the object of our study essentially and aesthetically remains "faithful" to the original and at the same time contributes to a deeper understanding of the Cervantes’s code in the modern media space and culture in particular. The film reveals the ability of Cervantes's code to adapt to modern communication technologies and changes in life (cinema, advertising, tourism) that not only present Don Quixote and Sancho Panza as anachronisms, but also ensure their immortality, proving the validity of Welles's idea who states that they are heroes for all ages.

Narradores-trapeiros, anarquivamento e fragmentação em romances de Benedicto Monteiro

The novels by Benedicto Monteiro Verde vagomundo (1972), O minosauro (1975) and A terceira margem (1983), written and published in the context of the Brazilian military dictatorship, employ in their compositions the technique of montage and fragmentation, common to other novels from the 1970’s (Franco, 1998), and they appear to us in their non-conforming feature as disjointed fractals and as self-moving trees (Pacheco, 2020). Mobilizing diverse discursive materials collected in society and inserting them in the novel, the narrator promotes a disorder in the logic of the Western, Cartesian, Enlightenment archive, he acts like a garbage collector, like the Baudelairean ragpicker, to put us in front of an anti-archive. He collects and presents the reader with a seemingly random collection of radio transcripts, newspaper and magazine news, songs lyrics, poems, technical reports, testimonials, and other discursive material. In this paper, we analyze the rag-picker narrator and the anarchivation, the anarchivation of the archive that shakes the edifice of Western reason, as the residues of society are collected from the ruins to critically reconstruct a discourse (according to Seligmann-Silva, 2014). Anarchivation, as a gesture of disorder and fragmentation, carried out by the narrators, appears as an aesthetic principle and corresponds to the perception of shock by the subject in the face of the rigging of the State and the vertigo caused by the violent, technocratic apparatus. After all, in the context in which the novels were written, the measure of good and evil and the subjugation of the subject's autonomy are under the rule of a State whose policy is based on violence and control (Todorov, 2008). Fragmentation and anarchivation as ways of disposing the narrative correspond to the way of perceiving himself, others and the world by this narrator, also disjointed, in a context and because of a violent, adverse, degrading context.

“Ocupación de una página como soporte de arte”: Catalina Parra y su trabajo en publicaciones editoriales en la década de los setenta.

In this article I explore the participation of Chilean artist Catalina Parra as a visualizer and diagrammer in certain editorial publications (Manuscritos Magazine and some books and catalogues of V.I.S.U.A.L.). These works offer a key to the analysis of the different production techniques of the artist, being fundamental montage techniques and theories form the basis of this exploration as it is through her work that words and images are manipulated as compositional material on the pages/media to be reviewed and in her photomontages. And it is in this common exercise where effects could be recognised that allow us to problematise certain states of art, as well as aesthetic and intellectual questions.