>>18870505Well, in that vein...trying the fourth one across and working down
As I said earlier
>>18870503 Eisenstein is the father of the montage. His is a bunch of seperate pieces making a collective square.
Godard is described in this article:
http://www.villagevoice.com/2000-04-04/film/agnes-godard-s-candid-camera/>Godard's artistry can be hard to pinpoint, as she avoids obvious flourishes—no chichi blue lighting or hypercontrasted shadows for her. Instead she shapes a distinctive identity for each movie. So she easily switched from Nénette and Boni's lush close-ups, in which bodies became landscape, to Beau Travail's sun-crushed long shots, in which bodies were part of the landscape. She handled wildly kinetic scenes in Noëmie Lvovsky's coming-of-age tale I'm Not Afraid of Life, as well as the quiet, tender realism of Erick Zonca's Dreamlife of Angels.So sounds like she is the anti-montage? Not sure, a bit over my head, but she enjoys keeping the beauty of scenes separate by there disconnectedness? However they still make a wonderful whole, but not touching. I've never seen her work.
Brakhage, known for his experimental and non-narrative work (lines not touching and not connecting).
Frampton is known for his films exploring the very nature of film, and his work focusing on series and sets.
Greenaway best known for his controversial film, The Cook, the Thief, His Wife & Her Lover. Represented here in four connected boxes.
Tarantino...someone early said comic book? But I don't know if that's how I would describe it. I don't have anything better though.
>>18870595the ones i looked at were in chronological order as far as i could tell