<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>The formal, cinematic language specific to immersive motion pictures is an area of cinema theory that has been neglected up until now. This paper investigates a new language of cinematic montage specific to immersive cinema, somatic montage, while it examines historical precedents in the sciences, arts, and cinema of the twentieth century. We propose somatic montage as a model for developing new poetic structures in time-based works that inhabit a three-dimensional, architectonic space – a space of embodiment, motion, perception, and participation in the reception of a work of art. In this paper, we consider cinema as a four-dimensional artwork conceptually engendered by the principles of hyper-dimensions, the outgrowth of scientific discoveries made at the turn of the twentieth century. The expanded cinema mediums of fulldome cinema, immersive video and film installation, virtual reality, and extended reality, when approached as four-dimensional cinema space, allow for a spatialized, non-linear juxtaposition of the cinematic elements. Somatic montage is presented here as an extended, supra-dimensional notion of what Sergei Eisenstein called the ‘disjunctive method of narration’.</p></abstract>

The formal, cinematic language specific to immersive motion pictures is an area of cinema theory that has been neglected up until now. This paper investigates a new language of cinematic montage specific to immersive cinema, somatic montage, while it examines historical precedents in the sciences, arts, and cinema of the twentieth century. We propose somatic montage as a model for developing new poetic structures in time-based works that inhabit a three-dimensional, architectonic space – a space of embodiment, motion, perception, and participation in the reception of a work of art. In this paper, we consider cinema as a four-dimensional artwork conceptually engendered by the principles of hyper-dimensions, the outgrowth of scientific discoveries made at the turn of the twentieth century. The expanded cinema mediums of fulldome cinema, immersive video and film installation, virtual reality, and extended reality, when approached as four-dimensional cinema space, allow for a spatialized, non-linear juxtaposition of the cinematic elements. Somatic montage is presented here as an extended, supra-dimensional notion of what Sergei Eisenstein called the ‘disjunctive method of narration’.

Somatic Montage for Immersive Cinema

Cultural Science Journal

This work is licensed under the Creative Commons Attribution 4.0 International License.

{"article-title":"Somatic Montage for Immersive Cinema"}

The formal, cinematic language specific to immersive motion pictures is an area of cinema theory that has been neglected up until now. This paper investigates...

Somatic Montage for Immersive Cinema

Article Category: Research articles

Online veröffentlicht: 22. Dez. 2021

Seitenbereich: 113 - 128

DOI: https://doi.org/10.2478/csj-2021-0009

Schlüsselwörter
Immersive cinema, Somatic montage, 20th-century avant-garde, Modernism, Relativity theory, N-dimensional geometry, Montage, Sergei Eisenstein

© 2021 Clea von Chamier-Waite, published by Sciendo

This work is licensed under the Creative Commons Attribution 4.0 International License.

Somatic Montage for Immersive Cinema

Article Category: Research articles

Online veröffentlicht: 22. Dez. 2021

Seitenbereich: 113 - 128

DOI: https://doi.org/10.2478/csj-2021-0009

SchlüsselwörterImmersive cinema, Somatic montage, 20th-century avant-garde, Modernism, Relativity theory, N-dimensional geometry, Montage, Sergei Eisenstein

© 2021 Clea von Chamier-Waite, published by Sciendo

This work is licensed under the Creative Commons Attribution 4.0 International License.

Schlüsselwörter
Immersive cinema, Somatic montage, 20th-century avant-garde, Modernism, Relativity theory, N-dimensional geometry, Montage, Sergei Eisenstein