11 Matching Annotations
  1. Feb 2022
    1. The woman, to return to our first example, is a rep­resentation, the n10urning robe she is wearing is a repre­sentation-that is, both are objectively representable. But "a widow," arising from a juxtaposition of the two representations, is objectively unrepresentable-a new idea, a new conception, a new image

      Representable vs unrepresentable image - critical distinction for argument

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

      Possible thesis for this section

    3. We are certainly not criticizing all these facts, nor their noteworthiness, nor universality

      "Facts", not arguments. Maybe none of these are his main idea?

    4. in Freud:

      Connection to Benjamin and the Slip? What is it? Evidence for its applicability to literature need not come from literature, (psych journals in this case)? Did Freud develop literature?

    5. in this instance we do not gain a new con­cept, or a new quality

      argues that not all montage is constructive?

    6. He rejects not merely the exaggerated representation of ac­tuality, but even the representation of actuality in en­tirety! In its place he counsels suggestion. But what is "suggestion" if it not be an element, a detail of actuality, a "close-up" of actuality, which, in juxtaposition with other details, serves as a. determination of the entire frag­ment of actuality?
      1. We are starting to see the idea that film (and hence narrative) does better with restraint. In fact the representation being shown to the watcher/reader is more effective when it is suggestive i.e. when it is montage. Because montage is, in its essence, suggestive.
    7. An extreme instance of this can be found in that in­ventor of the "portmanteau word,"

      first claim that montage technique can also be applied to writing, not strictly language

    8. he whole effect of this is built upon the circum­stance that the grave and the woman in mourning be­side it lead to the inference, from established conven­tion, that she is a widow mourning her husband, whereas in fact the man for whom she is weeping is her lover.

      montage can be used to mislead, if the naturally constructed image is far from the truth

    9. For example, take a grave, juxtaposed with a woman in mourning weeping beside it, and scar�ely anybody will fail to jump to the con­clusion: a widow.

      First argues that montage is a function of perception, not strictly film

    10. that two {ihn pieces of any kind, placed together, inevitably combine into a new concept, a new quality, arising out of tbat jux!aposition.

      Effect under discussion. His argument is something ABOUT this phenomenon, not just that it exists

    11. faced with the task of present­ing not only a narrative that is logically connected, but one that contains a maxhnum of e1notion and sthnulating power. Montage is a mighty aid in the resolution of this task.