collage and montage
#15 The fragmentarity follows the principle of constructing the parts from the deconstructed (one or more) wholes, through the means of montage, collage, inoculation of quotes from the various different textual origins etc. All of the constitutional parts of the whole are equal by their significance, and they stood on equal bases within the whole. That provides them such independence, so they can also function outside the whole, as well. The film Light Gray is an omnibus film, namely – a triptych made by three different authors, and every story is an independent whole within the great whole. The documentary and genre patterns in Maklabas are a freely-made collage, in spite of the illusion that they follow some firm narrative line. In Goodbye to the 20th Century – the three thematic parts are #14 linked among themselves with a different motivation each, and while the part with the Santa Claus comes (in the fable and chronological sense) before the part with Kuzman, it comes (in the edited story) afterwards, following some constructed, cyclic time logic. Then, the black & white segment (the third part) in the film that speaks of the first filmed incest at the Balkans comes as a completely independent part of the collage, both in style and in the theme, and even in the way it’s filmed. The reason for the reaching after this way of techniques is the thesis that the art-deed can’t directly present the understanding of the world, or to fully “catch the feeling” on that issues. Instead of that, the art-deed can (inter)mediate – through the collage, and through the editing – in the expressing and presenting those upon the actual or historical examples. The elements of the film language doesn’t have sense and meaning by & within themselves, but the y gain that through their editing and collage structures (both in text and image).