Il ritmo del montaggio.
Year: 2024
Type: article
Abstract: The objective of this article is to elucidate the philosophical scope of Ejzenštejn’s theory of montage. As he himself stated, editing is not merely a film technique; rather, it is a principle that encompasses all aspects of film work and extends even beyond the boundaries of cinema. His writings demonstrate a vitalistic understanding of matter and nature, wherein all things are perceived as parts of a larger whole. This concept bears resemblance to the “concatenation” put forth by Gilles Deleuze and other scholars: montage is a way of conceptualizing the relationship parts-whole, discrete-continuous, between the One and the Many. Art can thus be understood as a method of using dis- crete elements to evoke a unified whole. .
Source: Università degli Studi di Verona
Author: Redaelli, Enrico
Institution: University of Verona
Language: English
Topic: Cinema History and Criticism
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: green
OpenAlex ID: W6960030923
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