Form and Meaning in Avant-Garde Collage and Montage

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