9 maggio 2016
San Francesco - Via della Quarquonia 1 (Classroom 2 )
This lecture will be divided into two sections. The first section will analyze the origins of the concept of montage and the way it spread among many theories (especially EjzenÅ¡tejn and Vertov as well as Kracauer and Benjamin) over the course of the 1920s. These theories presented montage not only as a compositional process in the arts and film, but also as an hermeneutic and historiographic tool. The second section will examine the legacy of 20s theories on certain film practices that are based on the use of found footage. This paper will refer in particular to Harun Farockiâ€™s movies and installations. Furthermore, the lecture will analyze the impact of this legacy on several exhibitions organized recently using montage as their exhibition principle (for example, the exhibitions recently supervised by Georges Didi-Huberman, such as â€œAtlasâ€, 2011, and â€œNouvelles histoires de fantÃ´mesâ€, 2014).