In photograph the association of images occurs in sequential photographs, photographic series, essays or in in selecting photos to exhibition through photo books, galleries, installations, etc. The film, on the other hand, consists in slices of time and space, that united and organized through the montage can generate a narrative.
The process of photographic post-production, the one that starts in the instant after the click, can be closely compared to the montage and post-production film process, once the union of two or more images generates a new meaning, different from the isolated meaning of each one. This idea can be used both in the film editing, as well in the conception of photographic narratives.
And this is what paper proposes, reflect about the correlations between the cinematographic montage and photographs selection for the narratives construction.
In cinema montage theory there are some extremely important theorists and directors that can be availed when we think about photographic “montage” and the discourse construction through the association of images. In this way the text approaches some the most important directors and theorists of film editing, seeking to reflect about their methods and how they can be applied in the photographic “montage” and how they can contribute to expand photography narrative possibilities through the images association to generate new discourses.
Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.
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