Im Kampf um den Denkraum. Aby Warburgs Gedächtnisfeier für Franz Boll und die Didaktik der Bilder

Fleckner, Uwe

doi:10.30965/9783846750773_009

Cited by 1 publication

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…An early example of this method is the image montages found in avant-garde publications such as the almanac Der Blaue Reiter (The Blue Rider, 1929) or the periodical Documents . These used reproductions to present 'shocking' contrasts between works from utterly different contexts (for example, paintings by Van Gogh and Japanese woodcuts [in the almanac], works of high-brow and pop culture, paintings, film stills, comics, photographs, sculptures and graphics) in order to establish constants and variables in aesthetic composition (see Fleckner, 2012). 4.…”

Section: Filmographymentioning

confidence: 99%

See 1 more Smart Citation

Montage as a gesture of mediation and education

Henzler

2023

Film Education Journal

View full text Add to dashboard Cite

Combining images, comparing and linking them in chains, clusters and texts is a cultural practice that was not invented with digitisation. It dates back to the nineteenth century, when the invention of photography facilitated the task of copying artworks and other cultural material, and putting them in different contexts. Later, with the invention of the moving image, the gesture of montage was developed as an entirely new device of narration and thinking. Alain Bergala refers to this cultural practice when he proposes, in The Cinema Hypothesis, the combination of film clips as a film-pedagogical praxis as well as a research method. This article investigates the theoretical, cultural and practical aspects of this method, in revisiting a wide range of writings by Jacques Rancière, Roland Barthes, André Malraux and Wsewolod Pudowkin, as well as materials from Aby Warburg’s Bilderatlas and the found footage film Why Don’t You Love Me? by Christoph Girardet and Matthias Müller (1999). Furthermore, by comparing an extract from Grigris by Mahamat-Saleh Haroun (2013) to Sandro Botticelli’s The Birth of Venus (1485/6), the didactic potential of this method is explored. The article thus considers the pedagogical, aesthetic, cultural and filmic aspects of the practice of ‘montage’ in its most basic sense: the combination of (audio)visual material.

show abstract

Section: Filmographymentioning

confidence: 99%

“…5. This working method has been particularly well documented using images and eyewitness reports (Fleckner, 2012;Rösch, 2010). 6.…”

Section: Filmographymentioning

confidence: 99%