Montage and Narrative References

1.  Sergei Eisenstein

[Montage Theory]

‘Alexander Nevsky’ + ‘Battleship Potemkin’

The concept of montage is defined by the action of fragmenting reality and then reassembling it under the principle of a conflictive order. By juxtaposing two contrasting, disjointed elements a new meaning is created, something that transcends them both and the reality from which they arise.

2. Dziga Vertov

[Man with a Movie Camera]

The camera becomes and extension of the human body which orders chaos in a coherent sequence of images. Convinced that Marxism was the ideal scientific tool of analysis, perfecting vision implied the shift form a subjective to an objective deciphering of the world.

3. Lev Kuleshov

[The Kuleshov Effect]

Technique which demonstrates the inherent power of montage as a primary tool in the manipulation of the viewer’s perception. According to Kuleshov, cinema consists of fragments and it is their combination rather than their content that is essential in evoking and triggering different emotions. His original experiment consists of using the same shot of the character’s face, frozen in a neutral emotion while editing it next to different objects he appears to be glancing at: a girl in a coffin, a bowl of soup, and a woman. The audience interpreted the three situations as expressions of sadness, hunger and lust.

4. Gordon Cullen

[Serial Vision]

Described as the pedestrian experience of the urban space, which can be recorded sequentially by means of drawings, diagrams and photographs. Each movement along the path unravels different views which add to the sense of anticipation and drama.

5.  Bernard Tschumi

[The Manhattan Transcripts]

‘The Transcripts are about a set of disjunctions among use, form and social values. The non-coincidence between meaning and being, movement and space, man and object is the starting condition of the work. Yet the inevitable confrontation of these terms produces effects of far-ranging consequence. Ultimately, the Transcripts try to offer a different reading of architecture, in which space, movement and events are independent, yet stand in a new relationship to one another, so that the conventional components of architecture are broken down and rebuilt along different axes.’