sábado, 16 de abril de 2011

So one might, very schematically, distinguish four moments: invention of montage (Griffith, Eisenstein), its deviation (Pudovkin-Hollywood: elaboration of the techniques of propaganda cinema), the rejection of propaganda (a rejection loosely or closely allied to long takes, direct sound, amateur or auxiliary actors, non-linear narrative, heterogeneity of genres, elements or techniques, etc), and finally, what we have been observing over the last ten years, in other words the attempt to 'salvage', to re-inject into contemporary methods the spirit and the theory of the first period, though without rejecting the contribution made by the third, but rather trying to cultivate one through the other, to dialectize them and, in a sense, to edit them.

Jacques Rivette, Montage, Cahiers du Cinéma nº 210, março 1969.

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