/mon tahzh"/; Fr. /mawonn tannzh"/, n., pl. montages /-tah"zhiz/; Fr. /-tannzh"/, v., montaged /-tahzhd/, taging /-tah"zhing/.
1. the technique of combining in a single composition pictorial elements from various sources, as parts of different photographs or fragments of printing, either to give the illusion that the elements belonged together originally or to allow each element to retain its separate identity as a means of adding interest or meaning to the composition. Cf. collage (def. 1).
2. photomontage.
3. Motion Pictures, Television.
a. juxtaposition or partial superimposition of several shots to form a single image.
b. a technique of film editing in which this is used to present an idea or set of interconnected ideas.
4. any combination of disparate elements that forms or is felt to form a unified whole, single image, etc.
5. to make or incorporate into a montage.
[1920-25; < F, equiv. to mont(er) to MOUNT1 + -age -AGE]

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Pictorial technique in which cut-out illustrations, or fragments of them, are arranged together and mounted on a support, producing a composite picture made from several different pictures.

It differs from collage in using only ready-made images chosen for their subject or message. The technique is widely used in advertising. Photomontage uses photographs only. In motion pictures, montage is the sequential assembling of separate pieces of thematically related film by the director, film editor, and visual and sound technicians, who cut and fit each part with the others to produce visual juxtapositions and complex audio patterns.

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      in motion pictures, the editing technique of assembling separate pieces of thematically related film and putting them together into a sequence. With montage, portions of motion pictures can be carefully built up piece by piece by the director, film editor, and visual and sound technicians, who cut and fit each part with the others.

      Visual montage may combine shots to tell a story chronologically or may juxtapose images to produce an impression or to illustrate an association of ideas. An example of the latter occurs in Strike (1924), by the Russian director Sergey Eisenstein, when the scene of workers being cut down by cavalry is followed by a shot of cattle being slaughtered.

      Montage may also be applied to the combination of sounds for artistic expression. Dialogue, music, and sound effects may be combined in complex patterns, as in Alfred Hitchcock's Blackmail (1929), in which the word knife is repeated in the thoughts of a frightened girl who believes she has committed murder.

      Montage technique developed early in cinema, primarily through the work of the American directors Edwin S. Porter (1870–1941) and D.W. Griffith (1875–1948). It is, however, most commonly associated with the Russian editing techniques, particularly as introduced to American audiences through the montage sequences of Slavko Verkapich in films in the 1930s. See also photomontage.

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Universalium. 2010.

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