- Feb 2022
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sakai.duke.edu sakai.duke.edu
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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.
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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.
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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.
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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.
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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.
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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.
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