Montage Technique Research Articles

Der heterodiegetische Präsensroman – ein Fall von unreliable narration?

Der heterodiegetische Präsensroman – ein Fall von unreliable narration?

Musico-Political Constellations in Thomas Mann’s Doctor Faustus

A peculiarity of historical novels is the tension between literary fiction and historical narrative that itself is a generator for meaning. By virtue of his “montage technique,” Thomas Mann interweaves text, discourse, and protagonists from his historical and biographical environment and reworks them into components of an aesthetic whole. Additionally, configurations emerge in this literary fabric that allude to further connections that are not explicitly stated. They are of a fictitious nature that nevertheless permeate the historical and biographical background to which they are ambivalently related. This applies, among others, to Arnold Schoenberg and his twelve-tone technique as well as Theodor W. Adorno and his music aesthetics.

Ukryte „exemplum”. O roli łaciny w „Wybrańcu” Tomasza Manna

A hidden exemplum. On the role of Latin in Thomas Mann’s The Holy Sinner However Thomans Mann’s montage technique is very well known, there are still parts of his novels, which are not clear enough. It is the case of Latin in The Holy Sinner, which is used not only to simply imitate the medieval literature, but also in the purpose of parody and irony. What is more, in the beginning of the novel narrator quotes — as it turns out — words from De amore inordinato, a story from Gesta Romanorum quite similar to the story of Gregorius, and criticize them. It seems that this is not only an irrelevant statement, but a commentary to the whole work, which has to be re­cognized by readers to understand it. By the quotation Mann itself indicates the new way of showing the matters of unpure love, sin, grace and — wider — religion, which is based on the very specific irony. Because of this uncommon technique some researchers argue that The Holy Sinner is just a tri­fle, but behind it there seems to be misunderstanding. The type of thinking, which connects a sense of humour and religious solemnity, used to be popular in Ancient Greek literature, and Thomas Mann in some way brought it back — just as he did with Latin, in his novel not a dead language, but truly alive.

A Study on the Response Characteristic in Landscape Montage Technique(LMT) According to College Life Adaptation Level

A Study on the Response Characteristic in Landscape Montage Technique(LMT) According to College Life Adaptation Level

Context-based Composition in an Interdisciplinary Collaborative Framework

This article describes two site-specific sound installations conceived as part of interdisciplinary collaborations which aimed to explore different acoustic and perceptual features of urban and rural landscapes. The creative process involved in the design and implementation of both installations is described, focusing on the organic montage techniques based on spatial and temporal features of field recording methods. Future developments of the works will consider ways of developing further spatial-temporal sampling methods to assess particular features of soundscapes by panels of trained listeners.

Montage techniques in Kim Ki-rim and Cho Hyang’s poetics

Montage techniques in Kim Ki-rim and Cho Hyang’s poetics

An Analysis on the Responsive Characteristics of Post Drawing Inventory in Landscape Montage Technique

An Analysis on the Responsive Characteristics of Post Drawing Inventory in Landscape Montage Technique

Sandplay and Landscape Montage Technique: From the Viewpoint of Vertical Axis

Sandplay and Landscape Montage Technique: From the Viewpoint of Vertical Axis

Fashion Photography and Photojournalism: Posing the Body in Vu

The first issue of the French photographic journal Vu (1928–1940) stated, in a manifesto of intent, that it would reflect: ‘le rythme précipité de la vie actuelle’. The director, Lucien Vogel, had begun his career working in fashion publications and his wife, Cosette de Brunhoff, was the first editor of French Vogue in 1920. Vogel and his wife were directly engaged in recording fashion styles for the magazine’s special editions. His stable of photographers included Kertész, Man Ray, Tabard, Saad, d’Ora and Krull. They produced innovative fashion shoots in response to the advances made in publishing and photography at the end of the 1920s. They experimented with montage techniques and explored the potential of the new lightweight cameras. The covers they created could include celebrities and students; the focus of their work ranged from haute couture to investigative journalism. This gave the work more edge in comparison with the more composed mis-en-scène produced at the time for Vogue . For example, the diversity of Kertész’s portfolio ranged from models at Longchamp (1929) to stylish students at the Sorbonne (1933), indicators of traditional glamour and street fashion. The choice of specific locations such as these encouraged more natural body movements which, together with faster shutter speeds, affected the recording of the pose.

Techniques Application on Cultural and Artistic Documentary Production: A Study of Simon Schama’s Power of The Art

The study objects of this research is Simon Schama’s Power of the Art , a documentary with 8 sets and of length 430 minutes. This research explores the documentary through content analysis. The study analyzes artistic expressions like theme, audio-visual language, montage technique, space-time structure, and so on. The purpose is to study how BBC creators reappear and restore history and explain artistic work through video language. How they use artistic and aesthetic expressions with ideological implications in showing and leading the viewers to think. This excellent documentary owns great reference which is significant for future creation of documentaries of similar state.

Glenn Gould, Spliced

Glenn Gould often drew an analogy: live theater is to film as concert performance is to studio recording. In his writings, Gould cites one finished “performance” created by splicing together two contrasting interpretations of a piece; through editing, the finished version somehow becomes more than the sum of its parts. Here Gould’s use of editing appears to invoke montage technique in a manner similar to one of its uses in film: contrasting images (interpretations) are juxtaposed, bequeathing responsibility to the viewer (listener) to infer meaning not explicitly present in either. To paraphrase Walter Benjamin, the use of montage technique separates filmmaking from live theater, altering the ontological status of the former and elevating it to an independent art form. Do the ways in which Gould employs technology support the claim that there is a similar relationship between live and studio music?For all the extant literature on Gould, there is little that discusses—in detail—his actual studio process. Scholars have tended to take Gould at his word. However, I believe that only by placing the focus squarely on the historical truth may we evaluate his recording/filmmaking analogy. This paper centers on a detailed audio analysis of one Gould performance: his 1981 recording of a Brahms Ballade. I will present original research into archival documents and clips of studio outtakes, and I will discuss my own re-creation of Gould’s splicing scheme.My research allows me to make two claims regarding Gould’s studio process. First, Gould’s understanding of the function of studio recording is quite different from the commonplace notion that that recording studio is a means to create a simulacrum of the live event. And, second, his use of montage technique is quite a bit “weaker” than his own words on the recording/filmmaking analogy might lead one to believe.

Dimitri Kirsanoff: The Elusive Estonian

AbstractThis article investigates the contradictory information about the Estonian identity of the filmmaker Dimitri Kirsanoff (1899–1957) and examines the archival material that provides final confirmation of his birth and childhood in Tartu. In addition, Kirsanoff’s substantial contribution to silent cinema and his significance in the context of French avant-garde impressionism are discussed. Kirsanoff’s most acclaimed filmMénilmontant(France, 1926) was released 90 years ago. It is still frequently screened all over the world, due to its experimental montage techniques, the early use of handheld cameras, its innovative use of actual locations and the actors’ performances that still resonate with contemporary audiences.Ménilmontantis also influential because of its elliptical narrative style. However, with the advent of sound film, Kirsanoff’s career declined because the reorganisation of the film industry limited the creative freedom he enjoyed in the 1920s. This article attempts to contribute to a wider acknowledgement of Dimitri Kirsanoff’s Estonian origins, his films and his important place in the world cinema.

Using metaphor and montage to analyse and synthesise diverse qualitative data: exploring the local worlds of ‘early school leavers’

Growing interest in mixed method approaches to social research, alongside calls to expand methodological toolboxes to include the use of visual, mobile, sensory and observational methods, are generating diverse forms of research data that represent a range of ways of knowing. We discuss a study that used multiple methods to explore the circumstances of ‘early school leavers’ and show how we utilised the metaphor of pinboard logic and techniques of montage to guide the analysis, synthesis and interpretation of hetergeneous data. Pinboard logic enabled us to frame, assemble and contextualise data for analysis and interpretation, while montage suggests how these various ‘bits’ of data can be linked to develop insights into complex social scenarios. These analytic strategies accommodated the diverse expressive practices that young people used to describe their experiences, and allowed us to explore the varied circumstances associated with young people disengaging from educational opportunities.

Modernity of Shakespeare’s Performances in Korea focusing on Romeo and Juliet by Oh Taesuk and A Midsummer Night’s Dream by Yang Jungung

Romeo and Juliet by Oh Taesuk and A Midsummer Night’s Dream by Yang Jungung have been noted for their characteristics of Koreanness. However, this article aims to focus on the modernity of these two performances. Against the general opinion that these works represent only Koreanness, they have strong ‘modern’ characteristics that are immersed in themselves so that those qualities are not that manifest. Those qualities are the uses of montage technique, performativity, and body and gestures. The montage technique, which was a Brecht‘s concept, stresses the rupture of the flow of the plot. Therefore, the stop of the flow becomes noticeable to the audience so that the significance of the moment becomes stronger. Performativity refers to a coexistence of the stage and the audience. If performativity is strenghthened, then the stage can be more communicative with the audience and the audience participation in the work can be more possible. In addition, gestures are an active participator for thought, which means that gestures induce thought from the audience. Significant gestures are mostly poetic and are like images which have strong implications. In Romeo and Juliet by Oh Taesuk and A Midsummer Night’s Dream by Yang Jungung, these three qualities are broadly and deeply prevailed. For example, when Tybalt kills Mercutio, Oh Taesuk uses the stoppage of the performance and slow actions, therefore the continual flow of the plot is interrupted and the meaning of the moment is stressed. Its meaning is that those killings will strongly affect Romeo and Juliet’s love. Another example of the increased performativity is that Ryu and Hang play the roles of characters in A Midsummer Night’s Dream and a little later they become the members of a musical band on the stage, which implies that the work does not depend on the fictional illusion of the theatre. Instead, it provides the recognition of the audience. The audience is supposed to participate in the work by thinking that the work tries to dispel the illusory identification in the work by the audience. These three aspects are variously represented in the two performances. The montage technique represents the fragmented aspect of the modern world. Performativity stands for the flexible and unstable modern world in that every audience reacts to the stage and the work in his own way. This audience participation creates the new interpretation of the work. Furthermore, the use of the gestures are modern too because the use of gestures/bodies does not stand out the reason and logicality. Gestures distance themselves from Descartes’ reason.

The Form and Function of Dialectical Cinécriture in Beckett's Company

In this essay I argue that throughout Company Beckett adopts the technique of dialectical montage, which he encountered in the work of Eisenstein, to create a radically new autographical form of transmedial cinécriture. I suggest that this cinécriture enables Beckett not only intellectually to communicate the provisionality of self to readers, but also bodily to engage readers in a dialectical dynamic by which they directly experience the self for what it really is: an always-provisional synthesis in an always-provisional time and space. I begin the essay by considering the motivating factors that may have compelled Beckett to combine elements of film, radio, and prose in the late 1970s, after decades of resisting transmedial adaptations. I then examine the form and function of dialectical montage and constructive editing in Company. Next, I outline the form and function of intellectual montage and deep-focus space-time throughout the text and, in particular, in the penultimate watch sequence. Finally, I elaborate upon the ethical implications of the dialectic that these techniques set in motion.

A Red Handkerchief made with Soviet threads: Kazantzakis’s (and Istrati’s) screenplay on the Greek Revolution of 1821

Abstract This article undertakes a close examination of Nikos Kazantzakis’s first screenplay, Kokino Mandili/‘Red Handkerchief’ (1928), more than three-quarters of which is preserved in a typed manuscript at the Nikos Kazantzakis Museum Foundation in Iraklion, Crete. Kazantzakis wrote Kokino Mandili in French in Russia for the national film organization VUFKU, with the collaboration of Panait Istrati. The screenplay, which was never shot, is a Marxist narrative of the Greek Revolution of 1821. The examination of the story, plot and imagery of Kokino Mandili shows that Kazantzakis borrowed freely from major Soviet avant-garde films, primarily Eisenstein’s The Battleship Potemkin and October and Pudovkin’s Mother and The End of St. Petersburg. He altered facts and traditional beliefs about the 1821 revolution for ideological purposes, constructed scenes through a few characteristic details, and employed montage techniques to suggest rhythm and juxtapositions and to translate ideas into images. At the same time, Kazantzakis combined the borrowings from Soviet cinema with some idealistic conceptions, thus producing a mixed artwork that alluded to both Marxist and anti-rationalist theories. In addition to contributing to our appreciation of Kazantzakis’s debts to Soviet cinema and fusion of different traditions in expressing his world-view, Kokino Mandili helps us to identify some key sources of the imagery and rhythm of his subsequent, non-filmic works and reflect on the broader issue of cinema’s impact on his literary creations.

A comparison of the Landscape Montage Technique drawings between Chinese and Japanese female college students

A comparison of the Landscape Montage Technique drawings between Chinese and Japanese female college students

An Historical Examination of the Film Theories and Avant-Garde Mediation of Slavko Vorkapich in Hollywood

Early film theorist Slavko Vorkapich, a talented European emigre who became one of the first avant-garde filmmakers in the United States, articulated his conception of cinema as a unique, distinctive artistic endeavor. I will historically examine extensive original primary archival materials from the Slavko Vorkapich Collection to historically contextualize his film theories, montage techniques, and investigate how he envisioned his cinematic philosophy and visual aesthetic in his theoretical writings on motion pictures regarding “Film As A Visual Language,” “The Motion Picture as an Art” and “Motion and the Art of Cinematography” in 1926 which he went on to stylistically employ in his independent avant-garde films, such as The Life and Death of 9413 ? A Hollywood Extra (Slavko Vorkapich and Robert Florey [with Gregg Toland]; US, 1928), and in montage sequences for an extensive number of Hollywood studio films, including What Price Hollywood? (George Cukor, RKO Pathe; US, 1932). Vorkapich’s diverse array of work embodies the dynamic representation of his aesthetic philosophy encompassed in both his studio and independent productions. Notable is that he manages to successfully bridge the conceptual economic and artistic abyss between the dominant commercial industry and the avant-garde. Moreover, an analysis of montage sequences in the commercial film What Price Hollywood? reveals how his avant-garde stylistic mediation functions to transform the overall narrative film text by appropriating his innovative experimental aesthetic techniques expounded on in his film theories within the mainstream commercial production environment of the classical Hollywood studio system.

Introduction: Back and Beyond—The Context

WHILE CARIBBEAN FILMMAKING HAS BEGUN TO FLOURISH, there is little published research. Ex-Isles: Essays in Caribbean Cinema, published in 1992,1 remains the seminal text. Nonetheless, Caribbean filmmakers have been insistent about the need to theorise their filmmaking and to depict the lived spaces and specific experiences of the Caribbean. Films such as Pim de la Parra's Wan Pipel (1976), and Hugh A. Robinson's Bim (1974) which fictionalises political developments of independence politics in Trinidad and Tobago, as well as Euzhan Palcy's Rue Cases-Negres (1983), suggest that initially filmmakers focused on issues of race and identity in their attempts to create counterdiscourses and to localise filmmaking.The development of an indigenous industry in the Francophone Caribbean is usually attributed to Christian Lara because his film Lorque l'herbe (1968) provided the impetus for a wave of filmmaking by native-born filmmakers. These include Jean-Paul Cesaire, Gabriel Glissant and Willy Rambeau. This movement is marked in the first instance by Cesaire's negritude movement. At the Caribbean Tales Festival in Toronto in 2009, Euzhan Palcy spoke movingly about the influence of Cesaire and called him her father.Francophone filmmakers reflect on historic ills in different ways. Raoul Peck's Lumumba: La mort du prophete (1992) is about memory and the ghosting of the past and uses a ghost (Lumumba, voiced by the director himself ) to reconstruct a history of the assassination of the politician whose ascension to power lasted two months. Peck's revolutionary use of archival and home movie footage and the shooting of the film in Brussels give a peculiar quality to the work that Laura Marks has analysed in depth in her book, The Skin of the Film.2 Peck's analyses of power and terrorism in Moloch Tropical (2009) suggest the importance of the haunting of the past in the Caribbean. Hauntology, for example, is evident in Rue Cases-Negres in the shadowy shapes that hover at the back of Medouze's hut and the retained sounds and movements from an African ancestral presence. In her essay in this issue, focusing especially on Peck's 1994 L'homme sur les quais, Meredith Robinson dissects the ways in which Peck revolutionises traditional film techniques to interrogate memory's function in addressing historic trauma.The work of Guy Deslauriers from Martinique is also about the effect of a past in need of exorcism and uses a ghost to narrate the journey through the Middle Passage. Deslauriers, in the making of the film Passage du milieu (1999) and the filming of the political documentary based on the murder of the journalist Andre Aliker (Andre Aliker, 2008), uses filmic devices to probe the residues of history in specific ways. His use of montage techniques, for example, creates a profound sense of the presence of the past in Martiniquan and Caribbean history as a whole. Some of the most evocative scenes image the bodies of slaves as subhuman in their positioning within the cramped space of the ship's hull and juxtapose such atrocities with idyllic scenes of Africa. The narrator insists on the need for remembrance, thereby invoking the persistence of the effects of these traumas. Montage sequences also create conflictual lines that serve to refute imposed authority as in the frenzy of feet dancing to an inner spiritual music from Orisha rituals.Rachel Moseley-Wood also suggests that music and dance are integral to the representation of place and the experiences of the region. Her essay examines and problematises the ways in which Jamaican cinema has shaped reception to cultural products. For her, the exploitation of ghetto-based culture both constructs an often-stereotyped idea and image of Jamaican reality and, paradoxically perhaps, provides for a critique of class-based systems within the city space. Her enquiry plunges her into cultural debates about the ways in which films such as Dancehall Queen (Rick Elgood and Don Letts, 1997) engage with the female body and ideas of 'slackness'. …

Sono-Montage: Langston Hughes and Tony Schwartz Listen to Postwar New York

In the late 1940s and early 1950s, large-scale population shifts, urban-development projects, and new media transformed New York City in ways that were heard as much as seen. In this context, Langston Hughes and sound documentarian Tony Schwartz each experimented with techniques of montage to splice the sounds of their local New York neighborhoods. Hughes’s Montage of a Dream Deferred and Schwartz’s “New York 19” tape-recording projects locate a crisis in listening in New York’s postwar urban geography of race and economics. Although their projects differ in significant ways, both employ montage to expose listening as a mediated and socially constructed act often intertwined with the structural violence of racial and economic discrimination. In response, both develop alternative models of collective listening, which together offer contrasting perceptual strategies for remapping social, spatial, and sonic relations in the diverse and unequal urban geographies of the United States.