Form and Meaning in Avant-Garde Collage and Montage
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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
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