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"Beyond Spatial Montage" part 1 of 6
story © Michael Betancourt | published November 4, 2014 | permalink |
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This theory work will be published as a book-length monograph Beyond Spatial Montage: Windowing, or, the Cinematic Displacement of Time, Motion, and Space by Focal Press.
Part 1 of a 6 Part series proposing an expanded theorization of spatial montage, excerpted from a current book project.
Foundations Links Between Time, Motion, and Space
The typical cinematic image (either in long take or montage form) appears in the absence of additional constraints: the pure form of Motion is the long take (undisplaced movement contained by the long take); montage/editing are each a pure form of Temporal displacement, apparent through the ruptures created by the cut; the pure form of Spatial displacement lies with the use of multiple projectiona use that forms a range lying between apparently discrete screens and the composite screen produced by aligning the edges of one projector with another as in cinemascope or Able Gances Napoleon. Distinguishing between time, motion, and space in a theoretically precise manner allows for a more robust theorization of windowing: the distinction between one dimension and another is instantly apparent in the affect resulting from watching the motion picture itself. Each of these dimensions can be readily distinguished from the others through our encounter with it on screen: the affect it has determines its location within this taxonomy.
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