Photomontage has more to do with film than with any other art form - they have inudcommon the technique of montage. (Sergei Tretyakov)udBy considering that photomontage and film use the technique of cutting and gluingudas dominant artistic device, and that montage, a technique unifying art andudtechnology for the first time, emerged as a dominant artistic feature of the avantgarde,udthis thesis will explore the ideological and perceptual implications of itsudadvent in avant-garde art and film. The technological advances of the beginning ofudthe twentieth century, and particularly the advent of photography, allowed avantgardeudartists to break free from traditional concepts of artistic production – theyuddispensed with the old criteria of uniqueness, originality, handicraft and personaludstyle. At a time when many avant-garde artists abruptly ceased to paint,udphotomontage emerged as the privileged locus for a caesura with traditional artudforms. Photomontage envisioned film aesthetics insofar as it combines andudjuxtaposes images of various perspectival planes and angles (Raoul Hausmannuddescribed his early photomontages as “motionless moving pictures”). Audcorresponding observation can be made on the use of montage in cinema, audtechnique which crucially underpins the illusion of movement created through theudsuccession of photographic stills. The present thesis will investigate photomontageudand film in order to examine the effect technological reproduction played inudrevolutionising artistic production, perception and ideology – where the techniqueudand philosophy of montage was key.
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