Flashsideways: a evolução da montagem paralela em Smoking/No Smoking
The focus of this essay is to elaborate a historical retrospect to find interpretive keys for cinematographic montage, considering the influence of hypermedia structures. From the diptych films Smoking/No smoking (France, 1993), by Alain Resnais, the analysis brings historical references that help t...
| Autores: | , |
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | Brasil |
| Recursos: | Universidade de São Paulo (USP) |
| Repositorio: | Significação (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:revistas.usp.br:article/174950 |
| Acesso em linha: | https://www.revistas.usp.br/significacao/article/view/174950 |
| Access Level: | acceso abierto |
| Palavra-chave: | Parallel montage Alain Resnais Smoking/No smoking Cinema Montagem paralela |
| Resumo: | The focus of this essay is to elaborate a historical retrospect to find interpretive keys for cinematographic montage, considering the influence of hypermedia structures. From the diptych films Smoking/No smoking (France, 1993), by Alain Resnais, the analysis brings historical references that help to understand how the parallel montage reached the level of complexity of Resnais’s work, thanks to the use of flashsideways. To this end, besides a conceptual review, it is worth comparing it to the montage of the films Intolerance: love’s struggle throughout the ages (1916), by D. W. Griffith, and Citizen Kane (1941), by Orson Welles. |
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