NEW FORM QUESTS DEVELOPED ON CINEMA AND PAINTING IN THE CONTEXT OF THE MONTAGE AND COLLAGE CONCEPTS IN 20. CENTURY

Abstract

With the invention of photography in 1895 and the development of cinematography in 1939,
especially the art of painting, have begun to change.Thus, painting escaped from the addictive idea of
imitating nature (mimesis) and aimed to find a new way for itself through transferring this task to the
photograph.Painters, has revised the methods of expression and production and have produced new
ideas on the aesthetics of the painting.
D. W. Griffith and George Melies have done many experiments on cinematography and played
an important role in the development of the cinema.The cuts, Griffith made in his films to reinforce the
narrative form,would have become the basis of the method,which would have been described as
"montage" by Soviet cinematographers later on.
During the same period,Pablo Picasso and Georges Braque were breaking new grounds in
painting.Picasso and other representatives of Cubism have not worry about, describing objects as they
see.Their purpose is not to copy the object but to rearrange itfrom scratch.The "collage" technique,
which they linked the illustrated object to the different concepts via external items they placed on
canvas,, creates a new sense of time and space in the painting.
These two concepts, which are emerged in the same periodchronologically, produce similar
solutions for the method to be followed in the integration for the painting and the cinema.
In this study, effects of the the concepts of "montage" and "collage" on the art of the cinema
and the painting of their time will be contextualised with both the similarities and the differences via
literature and visual screening methods.