La filosofia del montaggio nel surrealismo.

Attrazione, conflitto, sacrificio

Abstract

The article explores the potential of montage beyond the cinematic realm, emphasizing its heuristic and expressive value in the context of the artistic avant-gardes of the 1920s. Montage is analyzed as a principle capable of technically reconfiguring perceptual models and reflecting dialectically the conflicts of reality through the juxtaposition of heterogeneous forms. At the heart of the debate on montage theories, the aim of the essay is to propose a possible reconciliation, beyond structural divergences, between Ejzenštejn’s montage theory and surrealism, particularly regarding the dissident forms and expressions of the latter.