Montage, Memory, and Film.

Montage

A film consists of a series edits, even films in which there are little to no edits, (like Russian Ark for example), the mind continues to “edit” audio-visual information. As I believed I’ve touched upon earlier, it may be hard, if-not impossible to go into a film with what I would call a “blank slate”. We take information with us to the cinema whether we like it or not, and this information forms our opinion of the film. So if the individual cannot change, from left-right, up-down or center or a myriad of other combinations, how then do we provide universality to our film? Provide the “blank-slate”, or better yet, imagine a graph with an x-axis and a y-axis, these axis’ provide a structure whereby anyone with a set opinion, or schema, can chart themselves on. Now, here’s the kicker, what of the z-axis? My imagination runs wild, because I don’t think the z-axis should be finite, but infinite.

Take the concept of montage above:

A – Thesis

B – Anti-Thesis

C/A – Synthesis/New-Thesis

If “A” is a mirror, and “B” is a mirror, and “C/A” is also a mirror, then what you have is a cinema that becomes an endless hall of mirrors.

This is one possible way to achieve universality within cinema.

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