In the early days of moving pictures, filmmakers learned that the montage could be an effective tool to show changes in time or locale.
Casablanca's iconic travel montage is mimicked by filmmakers to this day. Since its use in
Rocky, the training montage has become a staple for sports films. In the 2004 film
Team America, the song "Montage" is a meta explanation of the device's universal use and understanding. Its history and affects are studied and practiced by student and professional filmmakers alike.
Between Images takes a revolutionary look at this ubiquitous device and explores a new theory of montage. This study delves deeper into the concept of montage than traditional film criticism, which typically sees it as a tool for storytelling and realism. Instead, it focuses on the space between images as a powerful source of ideas, feelings, and forms. This book goes beyond the limited purview of film editing and examines the cut and splice across various photographic and cinematic media in a range of material, conceptual, and political contexts. By bringing together a diverse group of experimental filmmakers, including Harun Farocki, Hito Steyerl, Steve McQueen, and Cauleen Smith, Da騃hi Saito, and Ja'Tovia Gary, the book creates an interdisciplinary conversation about the power of cinema to effect change.
