Form and Meaning in Avant-Garde Collage and Montage

Cover
Half Title
Series Page
Title Page
Copyright Page
Dedication Page
Table of Contents
List of figures
Acknowledgments
Introduction
Part I Theories of intermediality: form and meaning
Chapter 1 The history
Comparative arts, interarts studies, and intermediality
Word and image versus word and music
Word, music, and the image – conceptual/a-conceptual, spatial/temporal
Notes
Chapter 2 The theory
Intermedial transposition or content under scrutiny
Intermedial reference or the primacy of form
Media combination as intermedia and mixed media
Transmediality in the narrow sense
Redeeming the ‘blind’ spots of a theory: the modalities of media and beyond
Notes
Part II Collage
Chapter 3 A heterogeneous articulation of meaning: avant-garde visual and verbal collage
Picasso’s collages or how to “trompe l’esprit”
Collage in the early avant-garde movements – theme and variations
Les romans-collages of Max Ernst or how to subvert visual narrative
Words and images: quasi-nonsensical verbal collage (Apollinaire, Marinetti, Schwitters et al.)
Form, heterogeneous meaning, and intermediality
Notes
Chapter 4 “The whole shebang!”: musical collage and meaning
Formal experiments: cumulative setting and spatial arrangements in Ives
Back in Europe: Picasso returns and a terminological conundrum (Satie and Stravinsky)
Musical collage, intermediality, and memory
Coda: collage – the transmedial perspective
Notes
Part III From collage to montage
Chapter 5 ‘Transparent’ replacements: visual collage and heterogeneous photomontage
The photograph: a ‘transparent’ medium
A shift in vision: heterogeneous photomontage
Looking forward: from heterogeneous to homogeneous photomontage
New wine in (not so) old glasses: the beginnings of heterogeneous photomontage (Dada and Constructivist photomontage)
Surrealist photomontage: ‘a dream come true’
Notes
Chapter 6 Intermedial models: film montage and homogeneous photomontage
Enter Eisenstein or Prospero’s cell
Perfected vision in Vertov’s kino-eye
Film montage and homogeneous photomontage
The films and photomontages of Moholy-Nagy and Heartfield: a firm grip on meaning
Klutsis, Lissitzky, and Rodchenko or when factography is not quite what it seems
Montage – a clear articulation of meaning
Notes
Chapter 7 Chasing the ‘greased pig’ of meaning: Literary and musical montage
John Dos Passos goes to the movies: D. W. Griffith, Eisenstein, and Dos Passos’s montage novels (Manhattan Transfer [1925] and U.S.A. trilogy [1930–1936])
What the manuscripts say: Alfred Döblin’s Berlin Alexanderplatz: Die Geschichte vom Franz Biberkopf (1929) – collage and montage in question
Sampling, sound science, and meaning in the early musical montages of Pierre Schaeffer and Karlheinz Stockhausen
Notes
Conclusion
Bibliography
Index