Montage (2)

The juxtapositions of fragments inHistoire(s) du cinéma(1988–98) are of various kinds accomplished by various means. They involve angles, light, surface, depth, duration (acceleration, slow motion, flickering), graphic lines (verticality, horizontality), scale and dimension. Some are rhetorical, poe...

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Bibliographic Details
Published inFilm modernism p. 145
Main Author Sam Rohdie
Format Book Chapter
LanguageEnglish
Published Manchester University Press 01.09.2015
Subjects
Aesthetic judgment
Aesthetics
Art genres and movements
Art history
Art music
Art theory
Arts
Axiology
Collage
Compositional techniques
Counterpoint
High culture
Instrumental music
Lyricism
Montage
Motifs
Music
Music composition
Music theory
Musical rhythm
Musical time
Orchestral music
Performing arts
Philosophy
Postmodern art
Symphonies
Western art music
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Summary:The juxtapositions of fragments inHistoire(s) du cinéma(1988–98) are of various kinds accomplished by various means. They involve angles, light, surface, depth, duration (acceleration, slow motion, flickering), graphic lines (verticality, horizontality), scale and dimension. Some are rhetorical, poetic or musical: condensations, inversions, correspondences, contraries, dissonances, contrasts, rhythms, pauses, repetitions, refrains, rhymes, succession, tempo, conflation. Some, while formal and rhetorical, specifically involve recurrent motifs and subjects: hands, eyes, monsters, aircraft, bestiality, savagery, executions, heroism, innocence, dance, war, slaughter, the Holocaust, Hitler, Mussolini, Hitchcock, Rossellini, John Ford, Jean Renoir, Nick Ray, D.W. Griffith, Sergei Eisenstein, Buster Keaton, Charlie Chaplin. There
ISBN:9781784992637
1784992631
DOI:10.7228/manchester/9781784992637.003.0035