Letöltöm/Download: (PDF, 690,17 KB)
Szerző/Author: Magda Dragu (Indiana University, Bloomington)
E-mail: adragu@iu.edu
Rövid életrajz/Bio: Magda Dragu is a doctoral (ABD) student in the Indiana University Department of Comparative Literature, currently finishing a dissertation on the early avant-garde, Intermediality in the Early Avant-Garde (1900-1930): Collage, Montage, Musicalized Painting. She has presented papers and published articles on intermedial aspects of the arts on topics such as collage, montage and musicalized paintings, as well as illuminated manuscripts of Dante’s Canto V, and organized panels on interarts topics at ACLA and IAWIS.
How to cite: Theatron Vol. 15, No. 4. (2021): 30–44.
Cím/Title (ENG): László Moholy-Nagy’s Photoplastics and Homogeneous Photomontage

I trace the emergence and evolution of László Moholy-Nagy’s photoplastics and their connection to the artist’s movies and movie scripts. By closely reading Moholy-Nagy’s statements concerning the nature of his photopastics, I show that their homogeneity and their clarity of meaning is derived from his similar experiments with film montage. Moholy-Nagy’s experiments from his film script Dynamic of the Metropolis (1925) exhibit similar characteristics to Eisenstein’s intellectual montage. In the evolution of avant-garde photomontage during the second decade of the past century, Moholy-Nagy’s photoplastics are an important achievement in the transformation of heterogeneous photomontage, which consisted of abrupt juxtaposition of the most disparate elements ‒ a technique closely related to visual collage ‒, into homogeneous photomontage which is defined by the articulation of clear meaning.