Inflection and Montage

…two branches of an inflection will not have the same destiny…

Bernard Cache, Earth Moves [p.40]

I understand Bernard Cache’s thesis of inflection best in terms of cinematic montage.

Eisenstein set the groundwork for an understanding of montage as the collision of difference leading to a new synthesis in motion.

The active, tertiary relationship is therefore defined by a conscious juxtaposition of two singular, indivisible shots then interpreted through an associative logic of momentum in the mind of the viewer.

This perceived set of interrelation is the illusory, causal link from shot A to B and so on that blossoms over time into a sensory totality of image throughout the duration of a film.

Now, Eisenstein sought a specific predetermined inference in-between shot A to B that we now understand to be axiomatic to statement-based imagery.

But, interestingly, Cache brings Jean-luc Godard into the equation.

Godard’s approach to montage is much more radically conversational because, though he works through a selective logic of intent regarding the developmental process of relations built between each singular compositional space, Godard is well aware, moreover embraces, the slippage of meaning that is inherent in-between shots; as in language from sign to signified, in fidelity to the difficulty of total understanding between individuals in conversation.

Thus, each engagement with an active, willing audience is alive with potential for the constructive and unique.

Jean-Luc Godard / Lausanne / Lettre à Freddy Buache (1982)

As Deleuze may say, each shot a becoming the other?

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