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Kino-Agora #3
مونتاژ
مجموعۀ کینو_آگورا کوششی بدیع است برای تدقیق مفاهیم و اصطلاحات مهم مطالعات سینمایی. عنوان مجموعه ارجاع یا شاید هم ادای دینی است به اصطلاحِ «کینو_پراودا» ژیگا ورتوف، یا همان «سینما_حقیقت» که بهزعم ورتوف به قدرت پدیدارشناختی، مادی و مشاهدهگرانۀ دوربین سینماتوگرافی اشاره داشت. در اینجا اما «کینو» به «آگورا» میپیوندد، واژهای برگرفته از یونان باستان، بهمعنای «مکان گردهمآیی»، همان مکان مشهوری که تفکر در آنجا متولد شد، در کنار دیگر کنشهای زندگی روزمره ازجمله ورزش، خرید و سرگرمی. از اینرو مجموعۀ کینو_آگورا بر سویۀ تفکربرانگیز سینما انگشت میگذارد.
کتاب «کینو_آگورا: مونتاژ»، فراتر از یک مفهوم فنی و تکنیکی به مونتاژ نگاه کرده است. مونتاژ را به عنوان یک عنصر مهم و کلیدی در زیباشناسی و فرم نهایی فیلم، مورد بررسی قرار داده و رویکردها و شیوههای مختلف آن و دیدگاههای انتقادی در مورد میزان اهمیت مونتاژ در تاریخ سینما وجود داشته را به شکل همزمان توضیح داده است. یعنی از شکلهای اولیه مونتاژ در سینما که توسط گریفیث به کار بسته شدهاند تا الگوهای پیچیدهتر مونتاژ در دهۀ ۲۰ سینمای شوروی، مثل آیزنشتاین و پودوفکین تا مونتاژ کلاسیک و مدرن.
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Describing editing as cinema’s formal and aesthetic soul because of its ability to represent time, in this lyrical essay Jacques Aumont surveys the theory and practice of editing and montage, from early cinema to the digital era. Aumont addresses the Soviet filmmaker-theorists of the 1920s, of course – he is a translator of Eisenstein and the author of a book on Eisenstein’s montage – but also brings into the discussion contemporary directors such as Jia Zhangke, Abbas Kiarostami, Aleksandr Sokurov, Kathryn Bigelow and Lisandro Alonso, with stops along the way for the ideas of André Bazin, Jean-Luc Godard and Pier Paolo Pasolini.
This original essay, written especially for caboose, is essential reading by one of the leading film scholars at work in the world today and a rare opportunity for English speakers to enjoy his work. It is the first of three Kino-Agora volumes on the essential concepts and practices of film aesthetics: montage, découpage and mise en scène.
We have entered into a period in which the reign of vision has become contested by that of the image, with the result that editing has changed nature, because its job is no longer to regulate a succession of shots as much as it is to regulate a succession of images. And while the shot has a responsibility towards reality, the image is responsible only to itself.
Jacques Aumont
Jacques Aumont has worked as a radio and television engineer, a critic with Cahiers du Cinéma and a member of the board of directors of the publisher Éditions de l’Étoile. He began teaching cinema studies in 1970, and later aesthetics, at the Paris-1, Paris-3 and Lyon-2 universities and at the E.H.E.S.S. in France, and in addition in Berkeley, Madison, Iowa City, Nijmegen and Lisbon. He is emeritus professor at the Université de Paris-3 Sorbonne Nouvelle and professor at the École nationale supérieure des Beaux-arts de Paris. He has worked in three related fields: (1) theoretical problems around representation; (2) the aesthetics of visual art, in particular the relationship between cinema and painting; and (3) film analysis, its methodology and related concepts.
His publications include: Montage Eisenstein, 1979, 2005; L’Oeil interminable, 1989, 1995, 2007; L’image, 1990, 2011; Du visage au cinéma, 1992; Introduction à la couleur, 1994; De l’esthétique au présent, 1998; Les Théories des cinéastes, 2002, 2011; Matière d’images, 2005, 2009; Cinéma et mise en scène, 2006, 2010; Moderne?, 2007; L’Attrait de la lumière, 2010; Le Montreur d’ombre, 2012; and Que reste-t-il du cinéma?, 2012. He has edited or translated an additional twenty volumes and written some two hundred and fifty articles for journals, periodicals, catalogues and conference proceedings.
کتاب «کینو_آگورا: مونتاژ»، فراتر از یک مفهوم فنی و تکنیکی به مونتاژ نگاه کرده است. مونتاژ را به عنوان یک عنصر مهم و کلیدی در زیباشناسی و فرم نهایی فیلم، مورد بررسی قرار داده و رویکردها و شیوههای مختلف آن و دیدگاههای انتقادی در مورد میزان اهمیت مونتاژ در تاریخ سینما وجود داشته را به شکل همزمان توضیح داده است. یعنی از شکلهای اولیه مونتاژ در سینما که توسط گریفیث به کار بسته شدهاند تا الگوهای پیچیدهتر مونتاژ در دهۀ ۲۰ سینمای شوروی، مثل آیزنشتاین و پودوفکین تا مونتاژ کلاسیک و مدرن.
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Describing editing as cinema’s formal and aesthetic soul because of its ability to represent time, in this lyrical essay Jacques Aumont surveys the theory and practice of editing and montage, from early cinema to the digital era. Aumont addresses the Soviet filmmaker-theorists of the 1920s, of course – he is a translator of Eisenstein and the author of a book on Eisenstein’s montage – but also brings into the discussion contemporary directors such as Jia Zhangke, Abbas Kiarostami, Aleksandr Sokurov, Kathryn Bigelow and Lisandro Alonso, with stops along the way for the ideas of André Bazin, Jean-Luc Godard and Pier Paolo Pasolini.
This original essay, written especially for caboose, is essential reading by one of the leading film scholars at work in the world today and a rare opportunity for English speakers to enjoy his work. It is the first of three Kino-Agora volumes on the essential concepts and practices of film aesthetics: montage, découpage and mise en scène.
We have entered into a period in which the reign of vision has become contested by that of the image, with the result that editing has changed nature, because its job is no longer to regulate a succession of shots as much as it is to regulate a succession of images. And while the shot has a responsibility towards reality, the image is responsible only to itself.
Jacques Aumont
Jacques Aumont has worked as a radio and television engineer, a critic with Cahiers du Cinéma and a member of the board of directors of the publisher Éditions de l’Étoile. He began teaching cinema studies in 1970, and later aesthetics, at the Paris-1, Paris-3 and Lyon-2 universities and at the E.H.E.S.S. in France, and in addition in Berkeley, Madison, Iowa City, Nijmegen and Lisbon. He is emeritus professor at the Université de Paris-3 Sorbonne Nouvelle and professor at the École nationale supérieure des Beaux-arts de Paris. He has worked in three related fields: (1) theoretical problems around representation; (2) the aesthetics of visual art, in particular the relationship between cinema and painting; and (3) film analysis, its methodology and related concepts.
His publications include: Montage Eisenstein, 1979, 2005; L’Oeil interminable, 1989, 1995, 2007; L’image, 1990, 2011; Du visage au cinéma, 1992; Introduction à la couleur, 1994; De l’esthétique au présent, 1998; Les Théories des cinéastes, 2002, 2011; Matière d’images, 2005, 2009; Cinéma et mise en scène, 2006, 2010; Moderne?, 2007; L’Attrait de la lumière, 2010; Le Montreur d’ombre, 2012; and Que reste-t-il du cinéma?, 2012. He has edited or translated an additional twenty volumes and written some two hundred and fifty articles for journals, periodicals, catalogues and conference proceedings.
120 pages, Paperback
First published February 28, 2013
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About the author
Jacques Aumont
72 books27 followersJacques Aumont est un critique et universitaire français. Il a enseigné à l'université Sorbonne Nouvelle - Paris 3, à l'École des hautes études en sciences sociales et à l'École nationale supérieure des beaux-arts.
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Displaying 1 - 5 of 5 reviews
December 21, 2020
کتابی خوب و خواندنی است اما نحوه مواجهه با آن مهم است. نباید خام خام و بدون هیچ پیش زمینهای از قواعد مونتاژ به سراغ آن رفت. بلکه بهتر است حداقلهای مونتاژ را ابتدا مطالعه کرد و سپس به سراغ این کتاب رفت. کتاب و کلا مجموعه مباحث را در یک سطح متوسط و روبه بالا ارائه میدهند که قطعا نیاز مخاطبهای جدی را پاسخ میدهند.
October 12, 2019
super easy to understand, pretty cover, explains things clearly and covers major theorists/filmmakers’ opinions and works
September 14, 2024
Aumont’s “Montage” is a fairly brief yet concise examination of how filmic montage evolved throughout the 20th century from various metonymic formulations, ideological abstractions, and formalistic theories to its present utilitarian treatment in the everyday. It is best read as a primer on the editing theories of Sergei Eisenstein, Lev Kuleshov, Dziga Vertov, and Andrei Bazin as they relate and respond to one another, and, as such, works as a great introduction to early conceptions of film editing that is easy to understand for everyone regardless of experience. Aumont is quite skilled at distilling the technical language of these 20th century thinkers into something more friendly and, at times, humorous. Likewise, Aumont avoids making dogmatic claims about the historical or ideological significance of editing and presents an agreeable viewpoint of cinema’s trademark tool as being flexible to infinite artistic possibilities—hardly an interesting conclusion, understandably, but a welcome openness to modern discourse. While the book may not delve into the nitty gritty of these theorists, it nonetheless makes for helpful accompaniment that, in my contention, would benefit film students in the midst of learning and summarizing early film theory’s approach to form, so I recommend it to teachers for the classroom. Of course, if you are familiar with these theorists and film academia writ large, chances are you won’t come away from this book with a new arsenal of ideas to wrack, but that’s fine. At least it will aid in organizing those thoughts in simpler terms.
November 25, 2023
تاریخچۀ مختصر و منسجم از مونتاژ که نیمنگاهی به ریشههایش و پدید آمدنش دارد، مکتب مونتاژ و شیوۀ به کار گیری مونتاژ در فیلمهای کارگردانان دهۀ بیست شوروی را بررسی میکند، اشاراتی به موج نوی فرانسه میکند و در نهایت به وضعیت آن در سینمای اخیر میرسد.
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May 14, 2018- several helpful points made here about the art of montage, or editing
- see post-it notes for future reference
- see post-it notes for future reference
Displaying 1 - 5 of 5 reviews