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Title of the article: |
THE CONCEPT OF MONTAGE IN CINEMA AND AVANT-GARDE ART: INTERTEXUAL CONNECTIONS |
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Author(s): |
Kirill L. Goryachok |
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Information about the author/authors |
Kirill L. Goryachok — Postgraduate, State Institute for Art Studies, Kozitsky lane 5, 125000 Moscow, Russia. E-mail: goryachokk@mail.ru |
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Section |
History of Arts |
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Year |
2019 |
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Volume |
Vol. 53 |
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Pages |
pp. 258–268 |
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Received |
March 11, 2019 |
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Date of publication |
September 28, 2019 |
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Index UDK |
791.3 |
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Index BBK |
85.373 |
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Abstract |
The paper discusses the concept of montage as one of the key links in avant-garde art of the beginning of the 20th century, particularly, in literature and cinema. The issue of influence that avant-garde discoveries exerted on cinema had almost never been studied. Meanwhile, editing theories of Soviet directors had a direct connection with the new art language. Leitmotifs and semantic interchange between artists and cinematographers created a special transmedia space in which the abstract idea of dividing the world into its constituent parts becomes one of the key methods of expressing the content of modernity. That said the cinema did never exist in isolation from that process, but, starting from the period of the First World War, it became its integral part. To confirm this thesis, the author provides examples of comparison of the works of futurists F. T. Marinetti, Velimir Khlebnikov and Iliya Zdanevich, Soviet cinematographers Dziga Vertov and Sergei Eisenstein, philosophers Henri Bergson and Martin Heidegger, and the theorist of Russian formalism Viktor Shklovsky. Together and separately their visions and art concepts shaped a unique media coordinate system in which for the first time cinema became an art along with literature and painting. |
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Keywords |
visual culture, Soviet cinema, avant-garde, futurism, montage. |
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References |
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