As lively as it is concise, Montage will prove very useful in the classroom. Jacques Aumont packs a surprisingly wide range of theorists and examples into this book, from Lumière and the Soviets to classical
Hollywood and even global cinema today. Montage demonstrates anew Aumont’s expertise in the functions of montage and editing for film theory as well as practice.
— Richard Neupert, University of Georgia
Revised second edition with 10 pages of new material.
Revised and expanded 2nd edition with 10 pages of new material.
Describing editing as cinema’s formal and aesthetic soul because of its ability to represent time, in this wide-ranging 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.
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.