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x | |
| Acknowledgments |
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xvi | |
| Introduction |
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xviii | |
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PART I Theories of intermediality: form and meaning |
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1 | (38) |
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3 | (20) |
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Comparative arts, interarts studies, and intermediality |
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3 | (6) |
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Word and image versus word and music |
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9 | (4) |
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Word, music, and the image -- conceptual/a-conceptual, spatial/temporal |
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13 | (3) |
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16 | (7) |
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23 | (16) |
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Intermedial transposition or content under scrutiny |
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23 | (5) |
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Intermedial reference or the primacy of form |
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28 | (3) |
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Media combination as intermedia and mixed media |
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31 | (1) |
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Transmediality in the narrow sense |
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32 | (1) |
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Redeeming the `blind' spots of a theory: the modalities of media and beyond |
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33 | (2) |
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35 | (4) |
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39 | (58) |
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3 A heterogeneous articulation of meaning: avant-garde visual and verbal collage |
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41 | (33) |
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Picasso's collages or how to "trompe l'esprit" |
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42 | (6) |
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Collage in the early avant-garde movements -- theme and variations |
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48 | (4) |
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Les romans-collages of Max Ernst or how to subvert visual narrative |
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52 | (4) |
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Words and images: quasi-nonsensical verbal collage (Apollinaire, Marinetti, Schwitters et al.) |
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56 | (7) |
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Form, heterogeneous meaning, and intermediality |
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63 | (1) |
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64 | (10) |
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4 "The whole shebang!": musical collage and meaning |
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74 | (23) |
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Formal experiments: cumulative setting and spatial arrangements in Ives |
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75 | (8) |
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Back in Europe: Picasso returns and a terminological conundrum (Satie and Stravinsky) |
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83 | (3) |
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Musical collage, intermediality, and memory |
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86 | (2) |
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Coda: collage -- the transmedial perspective |
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88 | (3) |
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91 | (6) |
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PART III From collage to montage |
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97 | (100) |
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5 `Transparent' replacements: visual collage and heterogeneous photomontage |
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99 | (30) |
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The photograph: a `transparent' medium |
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100 | (2) |
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A shift in vision: heterogeneous photomontage |
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102 | (2) |
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Looking forward: from heterogeneous to homogeneous photomontage |
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104 | (6) |
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New wine in (not so) old glasses: the beginnings of heterogeneous photomontage (Dada and Constructivist photomontage) |
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110 | (10) |
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Surrealist photomontage: `a dream come true' |
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120 | (2) |
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122 | (7) |
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6 Intermedial models: film montage and homogeneous photomontage |
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129 | (42) |
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Enter Eisenstein or Prospero's cell |
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129 | (5) |
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Perfected vision in Vertov's kino-eye |
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134 | (6) |
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Film montage and homogeneous photomontage |
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140 | (2) |
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The films and photomontages of Moholy-Nagy and Heartfield: a firm grip on meaning |
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142 | (12) |
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Klutsis, Lissitzky, and Rodchenko or when factography is not quite what it seems |
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154 | (9) |
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Montage -- a clear articulation of meaning |
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163 | (2) |
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165 | (6) |
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7 Chasing the `greased pig' of meaning: literary and musical montage |
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171 | (26) |
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John Dos Passos goes to the movies: D. W. Griffith, Eisenstein, and Dos Passos's montage novels (`Manhattan Transfer [ 1925] and U.S.A. trilogy [ 1930-1936]') |
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172 | (7) |
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What the manuscripts say: Alfred Doblin's Berlin Alexanderplatz: Die Geschichte vom Franz Biberkopf (1929) -- collage and montage in question |
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179 | (9) |
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Sampling, sound science, and meaning in the early musical montages of Pierre Schaeffer and Karlheinz Stockhausen |
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188 | (3) |
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191 | (6) |
| Conclusion |
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197 | (3) |
| Bibliography |
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200 | (23) |
| Index |
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223 | |
