Patrizia C. McBride: The Chatter of the Visible: Montage and Narrative in Weimar Germany (2016)

“The Chatter of the Visible examines the paradoxical narrative features of the photo montage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity. While montage strategies have commonly been associated with the purposeful interruption of and challenge to narrative consistency and continuity, McBride offers an historicized reappraisal of 1920s and 1930s German photo montage work to show that its peculiar mimicry was less a rejection of narrative and more an extension or permutation of it—a means for thinking in narrative textures exceeding constraints imposed by “flat” print media (especially the novel and other literary genres).

McBride’s contribution to the conversation around Weimar-era montage is in her situation of the form of the work as a discursive practice in its own right, which affords humans a new way to negotiate temporality; as a particular mode of thinking that productively relates the particular to the universal; or as a culturally specific form of cognition.”

Publisher University of Michigan Press, 2016
Creative Commons BY-NC-ND 4.0
ISBN 9780472053032, 0472053035
x+236 pages

Publisher
OAPEN
WorldCat

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Volker Pantenburg: Farocki/Godard: Film as Theory (2006/2015)

“There is a tension between the requirements of theoretical abstraction and the capacities of the film medium, where everything that we see on screen is concrete: A train arriving at a station, a tree, bodies, faces. Since the complex theories of montage in Soviet cinema, however, there have continuously been attempts to express theoretical issues by combining shots, thus creating a visual form of thinking.

This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create ‘film as theory’.”

First published as Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard, transcript, Bielefeld, 2006.

Translated by Michael Turnbull
Publisher Amsterdam University Press, 2015
Film Culture in Transition series
Creative Commons BY-NC-ND 3.0 License
ISBN 9789089648914
285 pages

Reviews: Dietmar Kammerer (taz.de, 2006, DE), Toni Hildebrandt (Senses of Cinema, 2015), Alex Fletcher (Review31, 2015), Chiara Marchini (Medienwissenschaft, 2016).

Publisher
OAPEN
WorldCat

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Sergei M. Eisenstein: Notes for a General History of Cinema (2016)

“This comprehensive volume of Eisenstein’s writings is the first-ever English-language edition of his newly discovered notes for a general history of the cinema, a project he undertook in 1946-47 before his death in 1948. In his writings, Eisenstein presents the main coordinates of a history of the cinema without mentioning specific directors or films: what we find instead is a vast genealogy of all the media and of all the art forms that have preceded cinema’s birth and accompanied the first decades of its history, exploring the same expressive possibilities that cinema has explored and responding to the same, deeply rooted, “urges” cinema has responded to. Cinema appears here as the heir of a very long tradition that includes death masks, ritual processions, wax museums, diorama and panorama, and as a medium in constant transformation, that far from being locked in a stable form continues to redefine itself.

The texts by Eisenstein are accompanied by a series of critical essays written by some of the world’s most qualified Eisenstein scholars.”

Edited by Naum Kleiman and Antonio Somaini
Publisher Amsterdam University Press, Amsterdam, 2016
Creative Commons BY-NC-ND 3.0
ISBN 9789048517114
545 pages

Publisher
OAPEN
WorldCat

PDF, PDF (7 MB)