Montage and Architecture

TrackingStar Guitar

“…This axonometry, obliquely referenced by Eisenstein through his discussions of Le Corbusier's architectural renderings in "Montage and Architecture," and more fully explored by Yve-Alain Bois in his introduction to the English translation of Eisenstein's essay, suggests the projection of the viewer's point of view, an implied movement of the stationary viewer's perception. 41 Because of an axonometric perspective, viewers can imagine themselves traveling through an architectural rendering or within a montaged sequence, affording more visual leeway than an unrelenting view down a single-point perspective expanse of receding train tracks. 42 The axonometric viewpoint, with the tip of the triangle in the distant landscape and the base housed firmly with the viewer would seem to promote a movement into the landscape, a walk through the architectural montage.…”

“…Nowadays it may also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept; and these divine impressions pass in front of an immobile spectator. 20 Interestingly, Gondry presents the entire video seemingly in the "first person," or at least absent a character seated where the camera is. The camera is placed in the position that a passenger on a train, sitting in a window seat, would be.…”

Camera Obscura, Camera Lucida : Essays in Honor of Annette Michelson

“…Before the eyes of a mobile viewer, diverse asymmetrical vistas and 'picturesque shots' are imaged. 46 As the architectural promenade unfolds a variety of viewpoints it makes the visitor of the space, quite literally, a consumer of views -a film 'viewer.' From this moving perspective, one also performs an act of imaginative traversal.…”

“…Despite the praise Moholy-Nagy lavished upon Ballet Mé-canique, DM lacks the fascination with machines and mechanical movement central to the film of Léger. 46 Although sometimes mistaken for an adherent of the New Objectivity and a member of the cult of technological rationality ubiquitous during the Weimar Republic, Moholy-Nagy distanced himself from these tendencies. 47 Nor does he share the enthusiasm for urban mass culture such as shown by Charlie Chaplin and commercial advertisements evident in the films of both Léger and Ruttmann.…”

“…in causality, produces a variation in logic, what Epstein calls an 'anti-logic. ' The fundamental logical importance of cinema lies in the fact that it produces a logic with broken uniformity, 46 or reversed causality, and hence opens up to humanity new ways of thinking at the very limits of human imagination. Many times in his writings, Epstein claims that this new logic inaugurates a new epoch in thinking that transcends all epistemological principles elaborated by Descartes and Kant.…”