Montage is an informed and highly original study in the styles and histories of film editing. Drawing on a wide range of directors and films, the book demonstrates the fundamental importance of montage aesthetics to the art of cinema and the practice of film criticism. -- .
Sam Rohdie's insightful and compelling analysis of Luchino Visconti's 1960 epic of modern urban life provides reveals the film as one of the greatest masterpieces of Italian cinema. Rocco tells the story of a family of peasants uprooted from their village in southern Italy, and forced to battle for existence in the industrial metropolis of Milan.Though fascinated by the social reality of modern Italy, Visconti had by this time thrown off the influence of the neorealist movement. He had developed a style all his own, enriched by his experience of directing opera for the stage. As a result, the characters in Rocco are no longer held in check by the naturalistic conventions of neorealism. Instead, they erupt on the screen with all the emotional power of heightened melodrama.The violent sexuality projected by stars Alain Delon, Annie Girardot, Claudia Cardinale and the rest of Visconti's impressive cast was too much for the Italian censors, who cut several scenes. Rohdie discusses the film in terms of its 'passionate splendid realism', arguing that these two apparently opposing moods are held in balance rather than contradiction in the film, part of 'the very condition of the film's power - and grace.'
The book explores the works of notable filmmakers like Louis Feuillade, Jean Painlevé, Jean Vigo, and Georges Franju, presenting each in the context of broader cinema histories and intellectual traditions rather than solely French cinema. Each chapter serves as a standalone essay, offering original insights and connections to modernist visual artists. It aims to reclaim these filmmakers for a diverse audience in film studies, encouraging alternative perspectives on cinema history. The text is both provocative and essential for enthusiasts and scholars alike.
Focusing on individual filmmakers, this book delves into modernism through fifty alphabetically arranged categories like Allegory, Desire, and Writing. Each category stands alone yet engages in dialogue with others, fostering unique connections and insights that challenge conventional structures. The book's seemingly arbitrary format draws inspiration from Jean-Luc Godard's exploration of film history, particularly in his work Histoire(s) du cinema, enhancing its thematic depth and complexity.