Montage Meaning

"Examples of montage are seen in many modern films, and it is not a device which is physically difficult to use. The difficulty lies in the proper conception of the complete montage, for the cameraman must so completely visualize the finished result that he can proceed to assemble the various units without, at any time, seeing them as a whole until the film is processed." — 1936, American Photography, volume 30, New York, N.Y.: American Photographic Pub. Co., →ISSN, →OCLC, page 184, column 1:

"If you have mastered the art of spot printing and dodging, you are ready for something really advanced, a post-graduate course in montage. As a matter of fact, montage used to be called "dodging" by most photographers, and "multiple printing" by the fussy few." — 1938, Mario Scacheri, Mabel Scacheri, “Montage, Simple and Multiple”, in The Fun of Photography, New York, N.Y.: Harcourt, Brace & Company, →OCLC, page 295:

"In the dissonant dynamics of [Hannah] Höch's simultaneous Dada montages the "nothing" and the "everything" of Dada were related to each other, both pessimistically and in a utopian manner." — 2003, Hanne Bergius, edited by Stephen C. Foster, “Dada Triumphs!”: Dada Berlin, 1917–1923: Artistry of Polarities; Montages – Metamechanics – Manifestations (Crisis and the Arts: The History of Dada; 5), New York, N.Y.: G. K. Hall & Co., →ISBN, page 291:

"There was a period in our cinema when montage was proclaimed as being 'everything'. We are now coming to the end of a period where montage has been regarded as 'nothing'. Since we consider montage to be neither 'nothing' nor 'everything', we now think it necessary to recall that montage is as essential a component of film-making as all the other affective elements of cinematography. […] The fact is that the makers of a number of films in recent years have so thoroughly 'parted company' with montage that they even forgot the basic aim and function, inseparable from its cognitive role, which every work of art sets for itself: the function of providing a coherent, consistent exposition of the work's theme, plot, action and events, and their progression both within each sequence and within the film as a whole." — 1991, Sergei Eisenstein, “Montage 1938”, in Michael Glenny, transl., edited by Michael Glenny and Richard Taylor, S. M. Eisenstein: Selected Works, volume II (Towards a Theory of Montage), London: British Film Institute, →ISBN; republished as Sergei Eisenstein: Selected Works, London: I.B. Tauris, 2010, →ISBN, page 296:

"THE MYTH: Training montages are inspiring, harmless fun. At some point in any sports movie, the grossly unqualified underdog will start training to the sound of some inspirational rock song." — 2013 October 29, Cracked.com, The De-Textbook: The Stuff You Didn't Know About the Stuff You Thought You Knew, Penguin, →ISBN, page 177: