{"id":{"repo_id":"dundee","oai_identifier":"oai:discovery.dundee.ac.uk:studenttheses/c0e885e9-fb51-4fb8-97ed-03b2f4a51c38"},"canonical_url":"https://search.dev.ndltd.org/etd/dundee/oai:discovery.dundee.ac.uk:studenttheses/c0e885e9-fb51-4fb8-97ed-03b2f4a51c38","repository":{"repo_id":"dundee","name":"University of Dundee","base_url":"https://discovery.dundee.ac.uk/ws/oai"},"display":{"title":"THE MULTI-IMAGE: The Origin and Possibilities of Visual Collage in Cinema","abstract":"The ‘multi-image’ is an overarching term covering various techniques of combination. These include split-screen, compositing, framing, superimposition and collage. This thesis explores the cinematic origins of the technique and examines a selection of its various possible uses. It covers the silent pioneers, the early avant-garde, 1920s narrative cinema (such as Jean Epstein, Abel Gance, Sergei Eisenstein and Dziga Vertov), modern silent films (focusing on Guy Maddin), David Lynch, Peter Greenaway and Jean-Luc Godard. Through this history, the thesis traces the recurring thematic purposes employed using the multi-image, including revelation, fragmentation, multiplicity and fluidity, and the foregrounding of artifice to facilitate viewer choice. The central claim is that the multi-image’s aesthetic complexity allows practitioner-theorists to match form and content allowing them to visually explore the complexity of the physical world. <br/><br/>The thesis records the possibilities previously explored by other filmmakers. The practical work is a parallel project, attempting to push these boundaries through my own cinematic experimentation. 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The central claim is that the multi-image’s aesthetic complexity allows practitioner-theorists to match form and content allowing them to visually explore the complexity of the physical world. &lt;br/&gt;&lt;br/&gt;The thesis records the possibilities previously explored by other filmmakers. The practical work is a parallel project, attempting to push these boundaries through my own cinematic experimentation. 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