QUI; latter question was how to make the living feel­ings and experience emerge within the actor. The former question was how to evoke for the spec­tator's feelings an emotionally experienced image

Hence the image of a scene, a sequence, of a whole creation, exists not as something fixed and ready­made. It has to arise, to unfold before the senses of the spectator.

the lifelike acting of an actor is built, not on his repre­senting the copied results of feelings, but on his causing the feelings to arise, develop, grow . into other feelings­to live before the spectator. Hence the image of a scene, a sequence, of a whole creation, exists not as something fixed and ready­made. It has to arise, to unfold before the senses of the spectator.

. In this ·latter stage it is important that the memory should pay as little attention as possible to' the first stage, and reach the result after passing through the stage of assem­bling as swiftly as possible.

The image of the given street be­gan to emerge and live in the consciousness and percep­tion exactly as, in the course 9f creating a work of art,

montage principle in general, a . principle which, if fully understood, passes far beyond the limits of splicing bits of film together

we are inevitably compelled to resort again to a chain of in­tervening representations, which, in aggregate, form the Image

These "mechanics" of the formation of an image in­terest us because the mechanics of its formation in life turn out to be the prototype of the method of creating ilnages in art. .

Montage helps in the resolution of this task. T,�e strength of montage resides in this, that it includes in the creative process the emotions and mind of the spec­tator. The spectator is compelled to proceed along that selfsame creative road that the author traveled in cre­ating the image

packed into one ,vord like a portmanteau," concludes his introduction to The Hunting of the Snark: For instance, take the two words "fuming" and "furious." Make up your mind that you will say both words, but leave it unsettled which you will say first. Now open your mouth and speak. If your thoughts incline ever so little towards "fuming," you will say "fuming-furious"; if they turn, by even a hair's breadth, towards "furious," you vvill say . "furious-fuming"; but if you have that rarest of gifts, a per­fectly balanced mind, you will say "frumious."

However, whether in picture, in sound, or in picture­sound combinations, whether in the creation of an image, a situation, or in the "magical" incarnation before our eyes of the images of the drama tis persona

At the base of all these methods lie in equal measure the same vital­izing human qualities and determining factors that are inherent in every human being and every vital art.

And now we can say that it is precisely the montage principle, as distinguished from that of representation, which obliges spectators themselves to create and the montage principle, by this means, achieves that great power of inner creative excitement * in the spectator which distinguishes an emotionally exciting work from one that stops without going further than giving in­formation or recording events.

The basic fact was true, and remains true to this day, that the juxtapositibn of two separate shots by splicing them together resembles not so much a simple sum of one shot plus another shot-as it does a creation

This property con­sisted in the fact that two {ihn pieces of any kind, placed together, inevitably combine into a new concept, a new quality, arising out of tbat jux!aposition. This is not in the least a circumstance peculiar to the cinema, but is a phenomenon invariably. met with in all cases where we have to deal with juxtaposition of two facts, two phenome�a, two objects

think it is apparent that the phenomenon we are dis­cussing is more than widespread-it is literally universal.

Every word has been permeated, as every image has been transmuted, through the imaginative in­tensity of one compelling creative act. "Consider it well," says Abt Vogler of the musician's anal­ogous miracle: Consider it well: each tone of our scale in itself is nought; It is everywhere in the world-loud, soft, and all is said: Give it to 11ze to use! I mix it with two in my thought: And, tbere! Ye have heard and seen: consider and bow tbe head! --Give Coleridge one vivid word from an old nar­rative; let him mix it with two in his thought; and then (translating terms of music into terms of words) "out of three sounds he [will] frame, not a fourth sound, but a star."

tbe need for connected and sequential ex­position of tbe tbenze, tbe 11Zaterial, tbe plot, tbe action,

Why do we use montage at all? Even the most fanat­ical opponent of montage will agree that it is not merely because the film strip at our disposal is n�t of infinite length, and consequently� being condemned to working with pieces of restricted lengths, ,ve have to. stick one piece of it on to an<;>ther . occasionally .

WORD AND IMAGE

Whoever teaches learns in the act of teaching , and whoever learns teaches in the act of learn

1 was faced by my own small view of the world and my limited definition of language, literacy, and learning

. What opportunities could I create in my classroom where par- ents were actually part of the cur- riculum

My students, once again, become my teachers, pushing my thinking and always providing conversations that are stimulati

We each have an outward energy that pushes us to personally invent ourselves (centrifugal force), while social convention is that outward energy that holds us in (centripetal forc

y? The chil- dren have much to teach us, if we but stop and list

w. Begin with the child and what the child knows. Become a keen kidwatc

The deficit perspective views the family as something that needs to be fixe

1) helped me transform my curriculum from themes about teddy bears and applesauce to in- quiry cycles where the children asked questions pertinent to their world

g. I realized with the help of Aaron and the other children that it was my job as a teacher to use strategies that let children learn about the languages of their cul- tures through sharing their stories and their personal literacies and experiences.

when his freedom to live his life is judged as not good enough by in- dividuals on the outside, people who do not understand or value his world?

ng. This is the child I viewed as struggling with literacy in the classroom. It is clear that he is totally literate in his world!

I stammer and stare as I watch Aaron communicate in the language of his home, his community, and his world- a language that he easily uses to negotiate the knowledge about reading and writing that blend home and school for him.

us. Hence, the photograph raises more questions than it answers, inviting further investigation, close readings, and discussion.

Even though private photographs shot by Wehrmacht soldiers in Ukraine and other Soviet-occupied territories demonstrate that many women formed close relationships with German occupiers, this does not equalize the power asymmetries.30 The borders between sexual barter, romantic relationships, and sexual violence were fluid; hence, at any time local women could become the targets of sexual assault. While we cannot tell what exactly happened to the woman in the photograph, it is nevertheless important to open up different analytical frameworks and consider that her role might have been more complicated than we first assume