Starts from the premise that the concept â?omontageâ? does not exist in the absolute but must always be considered in light of the time and place in which it operates and is understood, and must always be studied in relation to other arts and social phenomena.
Montage, découpage, mise en scène: these three French terms are central to debates around film history and aesthetics in every language, yet the precise meaning of each and especially their relationship to one another remain a source of confusion for many. In this unique volume, film scholars Laurent Le Forestier, Timothy Barnard and Frank Kessler examine in lively, readable prose the history of these concepts in film theory and criticism and their genesis and development in practice during cinema's foundational first half-century and beyond--from early cinema to the modern mise en scène criticism of the 1950s and 60s by way of silent-era explorations of the theory and practice of montage and the early sound period's counter example of découpage. Each 20,000-word essay will serve as an essential guide for students and specialists alike, combining historical overview with fresh ideas about film aesthetics today.
