Despite its synchronic and universal vocation, every theory of montage is necessarily rooted in history. This introductory text to the monographic issue of CiNéMAS dedicated to the theme “Limite(s) du montage” points out that the assembled essays do not intend to return to the definition of montage, nor to redo its history. Rather, they intend to question traditional taxonomies. In fact, the filmic practices linked to technological mutations, exactly like the most recent discoveries concerning early cinema or, among others, the rereading of the classical model, require us to develop a new definition of editing that also takes into account the areas hitherto neglected. I.e., a new definition which is aware of the intersection between film editing and other artistic practices.
E. DAGRADA (2002). Présentation. CINÉMAS, 13(1-2), 7-9.
Présentation
E. DAGRADA
2002
Abstract
Despite its synchronic and universal vocation, every theory of montage is necessarily rooted in history. This introductory text to the monographic issue of CiNéMAS dedicated to the theme “Limite(s) du montage” points out that the assembled essays do not intend to return to the definition of montage, nor to redo its history. Rather, they intend to question traditional taxonomies. In fact, the filmic practices linked to technological mutations, exactly like the most recent discoveries concerning early cinema or, among others, the rereading of the classical model, require us to develop a new definition of editing that also takes into account the areas hitherto neglected. I.e., a new definition which is aware of the intersection between film editing and other artistic practices.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
