Montage in Fernando Pérez Valdez's Suite Habana (2003)

Tompkins, Cynthia M.
April 2011
Confluencia;Spring2011, Vol. 26 Issue 2, p31
Academic Journal
The article looks at the use of montage within the 2003 Cuban documentary "Suite Habana," directed by Fernando Pérez. According to the author, Pérez has a distinct, lyrical approach to depicting scenes. She suggests that certain types of montage used in "Suite Habana" were inspired by well-known silent film director, Sergei Eisenstein. It is implied that Pérez's use of montage makes "Suite Habana" one of the most experimental Latin American films ever made.


Related Articles

  • Cinema, poetry, pedagogy: Montage as metaphor. Reid, Mark // English Teaching: Practice & Critique (University of Waikato);May2005, Vol. 4 Issue 1, p60 

    This paper is an exploration of the ways in which the concept of montage (a principle of film editing developed first by a group of Russian film makers in the 1920s) might be mobilised in support of the teaching of English, in particular the teaching of poetry. I will argue that montage can be...

  • Point - pathos - totality. Yampolsky, Mikhail // Sign Systems Studies;2013, Vol. 41 Issue 2/3, p167 

    Two situations are possible when two fragments are confronted in montage. First, we can have a continuity corresponding to some established narrative codes. For instance, a character crosses the right border of the frame and reappears from behind the left side of the next frame. Such a figure...

  • From stage to brain: Montage as a new principle of scientific narrative. Bulgakowa, Oksana // Sign Systems Studies;2013, Vol. 41 Issue 2/3, p200 

    German Dadaists, Italian and Russian Futurists and Constructivists created in their experiments multi-medial orthopedic bodies as products of collage and montage. Sergei Eisenstein, who was influenced by these experiments, organized his theatrical productions as a chain of independent fragments...

  • Sergei Eisenstein and Montage: When Cultures Collide in Once Upon a Time in China II. Burley, Robyn // Film Matters;Winter2012, Vol. 3 Issue 4, p3 

    The article discusses the montage theories postulated by Sergei Eisenstein and its relation with the film "Once Upon a Time in China II." It mentions that the montage theories by Eisenstein are derived from notion that idea is the result of the collision of two factors. It adds that the...

  • Whitman and Eisenstein. Grant, Barry K. // Literature Film Quarterly;Summer76, Vol. 4 Issue 3, p264 

    Compares the works of Russian film director Sergei Eisenstein and poet Walt Whitman that both value the importance of the concept of montage. Impact of violent events on the lives and career of the artists; Definition of the montage concept according to Eisenstein; Analysis of the passages from...

  • Les ciseaux oublies. Kessler, Frank // Cinemas;Fall2002, Vol. 13 Issue 1/2, p109 

    This article examines the work of the film editor in Germany in the 1920s, which, according to Serguei M. Eisenstein, is often forgotten or unrecognized.

  • Linguistic Models in Early Soviet Cinema. Denkin, Harvey // Cinema Journal;Fall77, Vol. 17 Issue 1, p1 

    The article focuses on the linguistic models used in early Soviet Union cinema. It discusses the concepts of two Soviet filmmakers, Sergei Eisenstein and Dziga Vertov, regarding the language techniques they used. Eisenstein first applied the montage principle to attract viewers. Later, he...

  • BERLIN BOARDS 'SHIP' Koehl, Christian // Daily Variety;12/30/2004, Vol. 285 Issue 63, p4 

    This article reports that the Berlin Film Festival will honor Russian director Sergei Eisenstein with a showing of a restored print of his classic motion picture "Battleship Potemkin." Officials of the film festival said in an announcement that with its pioneering editing techniques, 'Battleship...

  • The Influence of Traditional Japanese Aesthetics on the Film Theory of Sergei Eisenstein. Odin, Steve // Journal of Aesthetic Education;Summer89, Vol. 23 Issue 2, p69 

    The article examines the factors that influenced the film theory of Sergei Eisenstein, the foremost film director and film theorist in the history of cinema. Eisenstein argued that the aesthetic foundation of cinematography was montage. The author explains that in identifying the various...


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics