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
By using montage in certain ways, the author shows that one can evoke emotion from different people that take part in the work, from emotions in the spectators to emotions in the actors themselves.
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.
Montage is the act of making. It is the compilation of various different parts that come together to create something that is the greater than the sum of their parts. Montage requires construction
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.
The author explains that any scene is something dynamic rather than stable.
. 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.
Something is created and made by using a series of images, in this case it is a memory that is made by grafting together moments
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 allows people to create the image of the street even when the name of the street is not evocative.
montage principle in general, a . principle which, if fully understood, passes far beyond the limits of splicing bits of film together
One of the main ideas of the piece, montage can enrich and improve film in various ways according to how one uses it.
we are inevitably compelled to resort again to a chain of intervening representations, which, in aggregate, form the Image
If images are composed of a "chain of intervening representations," they are composed of montages. They are made of different disparate parts coming together to create an 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. .
He's creating a connection between the way in which images are created and the way in which art is created. The creation of images uses montage as a tool, and thus the creation of art requires montage. Montage is fundamental to the creation of art and image.
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
Here the author makes an interesting claim about montage. He states that its true strength lies in its ability to lead the spectator on the same creative journey that the author themselves took. Using montage to do this allows the author to evoke powerful emotions, but also allows them to show the spectators their own intention at the highest possible level. This ties into the main point that montage is not a simple act of putting images together, but also a way to have the spectators feel the author's goal.
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."
"Portmanteau" can arise not only from the interaction of sentences or paragraphs but even words. It does not create a new concept but adds uniqueness to the text
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
Giving examples of how montage can be used to create the fantastical within a piece of writing
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.
Expounding upon his earlier idea of montage as a form of creation. He's asserting that it's fundamental to art and humanity.
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 author gives a myriad of different examples of montage and how it can work to improve a film. In this case the author uses montage as a way to evoke excitement for the audience as well as making the film emotionally exciting. This relates to one of his main points which is that montage is not just putting different images together in sequence, but is a technique that can evoke complicated emotions when used properly.
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
Main idea? Arguing that montage isn't just putting together two disparate images, but rather the creation of a new idea.
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
This notion underlines how the interaction between two pieces of video or text can produce a "new concept". Thus, the placing of structural units in a book is important.
think it is apparent that the phenomenon we are discussing is more than widespread-it is literally universal.
He asserts universality of montage, the importance and prevalence of the tool within film and literature. It's an inherent part of creating art/media
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."
Here the author makes use of quotes in order to introduce the idea of words and images having profound impacts when used artistically and creatively. This gives the reader insight into how the reading as a whole will analyze the importance of certain artistic techniques, and how certain techniques can make art more profound.
tbe need for connected and sequential exposition of tbe tbenze, tbe 11Zaterial, tbe plot, tbe action,
demonstrates complete change in film-making styles away from montage, slight derisive tone
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 .
This passage explains the importance of montage by projecting film montage onto the one in literature
WORD AND IMAGE
As suggested from reading games, by analyzing the title we can infer that the reading may explore the relationship between words and images. These two together possibly suggest film.
Whoever teaches learns in the act of teaching , and whoever learns teaches in the act of learn
I love this quote. As teachers, our job is to never stop learning, and we learn so much from our students.
1 was faced by my own small view of the world and my limited definition of language, literacy, and learning
This reminds me of the first module that literacy is not just one small thing, but has a very broad definition.
. What opportunities could I create in my classroom where par- ents were actually part of the cur- riculum
Involving parents in the classroom motivates students and parents to continue the learning at home, which is what we want to happen! As teachers, we should make sure that parents feel welcome in the classroom.
My students, once again, become my teachers, pushing my thinking and always providing conversations that are stimulati
I think that communication and having conversations with students not only keeps class fun and interesting, but keeps everyone's brains working actively. It is a good way to keep yourself, as the teacher, accountable as well as the students.
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
I like this quote because we want to teach our students that they can be whoever they want to be, and teach them that they do not need to be like what they see others as.
y? The chil- dren have much to teach us, if we but stop and list
I like this quote because a lot of times, teachers forget the fact that they do not know everything. Children have many important perceptions, opinions, and ideas that we can benefit and learn from.
w. Begin with the child and what the child knows. Become a keen kidwatc
I think this is the best way that we can view each student as having many talents and strengths.
The deficit perspective views the family as something that needs to be fixe
I think this is an essential perspective. No child, and especially not their families, should be judged. They do not need to be "fixed."
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
I think this is a good example of where the unnecessary/seemingly pointless moved to relevant/engaging and still aligned with standards.
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.
I think that this is a good definition of what literacy really is. It does not have to be a favorite chapter book, or even a picture book--or a book at all. Literacy comes in all sorts within all student's lives. Being culturally responsive is essential in teaching literacy skills.
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?
This is something that, as teachers, we cannot let happen. Valuing every student and knowing that every student is capable and skilled and talented (even if they are not meeting grade-level with ease) is essential--especially in reading, literacy, communication skills, etc.
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!
This goes along directly with what we discussed when we discussed what literature really is in the first module. While his teacher viewed him as struggling, Aaron was actually quite capable of reading. We, as teachers, need to keep an expanded view of what literacy really is (it's not just reading grade-level books, it goes way beyond that into manuals, magazines, signs--as we see here).
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.
As future teachers, I think this is something we need to always keep in mind and hold as a priority. The things we teach in school, especially reading, are supposed to be relevant and useful to students in their real lives. Reading is not something we can let slip through the cracks, and it is something that we should really aim to get students interested in, because they are always going to need, and use, this skill.
us. Hence, the photograph raises more questions than it answers, inviting further investigation, close readings, and discussion.
By the end of the reading I found myself questioning many things and thinking how sexual assault in the past has shaped our view on sexual assault today. With the #metoo currently trending in result of the Harvey Winstead case it is clear sexual assault is a prevalent issue in today’s society. However did sexual assault always have legal and social repercussions? Or was this seen as an unavoidable byproduct of war? As well do the answers to these two questions depend on race or social status? Furthermore how has the laws and culture surrounding sexual assault changed with the feminist movements? Did laws surrounding this crime become more severe with this rise? Or did sexual assaults increases with the changing status of women?
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
This part of the article discusses how in the German occupied territories women could be targets of sexual assault. However, the author also notes how the rates of sexual assaults varied between the eastern and western fronts. If a french women was rapped this was more rare an sever punishments where carried out. In the east this was common and no repercussions where given. This made me question how rape was used in previous war, for example the Napoleonic wars. Also how was rape used on other parts of history such as the slave trade?
Personally, I found this reading to be difficult as the subject matter is deeply unsettling, as well with the picture on the first page I found this to create the issue in a more real way. It is easy for one to disassociate with the past and believe that society has progressed since then, however with an issue that is still prevalent today. With a crime so horrendous it is easy to see how one can be still affected by this and dissociate themselves from the past.