<div dir="ltr"><div class="gmail_default" style="font-family:georgia,serif"><div class="gmail_default" style="font-family:georgia,serif">A few remarks concerning Debussy and montage technique:<br></div><div class="gmail_default" style="font-family:georgia,serif">
<br>The
first thing we need to do before embarking on a debate concerning the
true pioneers of montage technique is to define exactly what we mean by
montage. In his post, Dr. Khannanov refers specifically to Soviet
montage, as developed by Eisenstein. But scholarship concerning the
influence of montage on Debussy refers to a different form of the
technique—one that was around long before Eisenstein developed his
theories. For example, Piggybacking on E.T. Cone's (1962) theory of
stratification, interlock, and
synthesis, Mark McFarland (2004) makes a compelling case for Debussy as
an <i>inheritor</i> of film-montage technique.<br><br></div><div class="gmail_default" style="font-family:georgia,serif">It
is also worth noting Debussy's own words on the subject of film
technique (from Lesure and Langham Smith 1988, 298): "There remains,
however, one means of renewing the taste for symphonic music among our
contemporaries: to apply to pure music the techniques of
cinematography..."<br>
<br></div><div class="gmail_default" style="font-family:georgia,serif">Best wishes,<br></div>Andrew Schartmann</div><div><div dir="ltr"><div><div><font><span style="font-family:georgia,serif"><span style="color:rgb(153,153,153)">PhD Student, Yale </span></span><span style="color:rgb(153,153,153)">Department of Music</span><br>
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