![]() A paratactic order supersedes a hypotactic order. On the level of the production and organization of texts, montage as a juxtaposition of disparate fragments tends to shift the focus from genealogy to construction, from an organic to a technical paradigm, from a temporal to a spatial order. The use of such materials leads to alienation effects but also to a stronger reference to reality. Montage is an aesthetic process in which "the particles are joined together without joints, remain heterogeneous and appear inhomogeneous as discernible fragments" (Voigts-Virchow 2004 The individual elements thus acquire a new meaning, but still quote their old statements. Elements are taken from their original context of use and inserted into a new, foreign context. In the montage, unlike in the quotation, it is not necessary to identify the source. In literature, montage is a form of intertextuality. In the arts, it means more a method than a device. At the beginning of 20th century, the term has been transferred to cinema technology. The lexicographical origin of the term montage points to a craftsmanship meaning in the sense of mounting, assembling, putting together, composing, constructing. In literature, the material can be taken from the press, advertising, everyday communication or, in the case of documentary montage, from various historical and contemporary sources. Especially in fine arts, the term assemblage is often used as a synonym to montage. The term is used in various arts such as literature, painting, sculpture, photography, film, music, theater, and performative art. ![]() ![]() The assembled parts can be words, prints, notes, photos, objects, scenes, settings, etc. ![]() Montage refers on the one hand to the use of prefabricated or preformed parts in art and on the other hand to the resulting product. ![]()
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