Montage | Course MD 605

Lecturer | M. Kallenberger
Teaching Assistant | Abla Mohamed

"Editors must become the translators through which the film (not they) speak." -Gabriella Oldham

"Everyone who has had in his hands a piece of film to be edited knows by experience how neutral it remains, even though a part of a planned sequence, until it is joined with another piece, when it suddenly acquires and conveys a sharper and quiet different meaning than that planned for it at the time of filming." -Sergei Eisenstein

Course Outline

The course guides students to understand and analyze different types of montage, its basic functions and purposes. It integrates historic reflections of montage development, theory of montage and introduces montage for film editing. Elements will be history and narrative styles of film, parameter of contextual design of the moving image, interpretations of contexts, forms of perception, linear film and interrelation of various films during film installations.


The Revolution in Russian Cinema: Sergei Eisenstein, Lev Kuleshov, Dziga Vertov, Esfir Shub 
		and Vsevolod Pudovkin 

	•	Italian Neo-Realism: Vittorio De Sica, Federico Fellini, Roberto Rossellini, Luchino Visconti
		Giuseppe De Santis and Cesare Zavattini

	•	The Golden Age of Egyptian Cinema: LinkThe Golden Age of Asian Cinema: Masaki Kobayashi, Akira Kurosawa
		Kenji Mizoguchi and Yasujiro Ozu

	•	Nouvelle Vague: Chabrol, Godard, Rivette,Rohmer, Truffaut

	•	Rive Gauche: Demy, Varda, Resnais, Straub, Marker

	•	British New WaveThe New Hollywood: LinkNew German Cinema: Rainer Werner Fassbinder, Werner Herzog, Alexander Kluge, Ulli Lommel, Volker
		Schlöndorff, Helma Sanders-Brahms, Hans-Jürgen Syberberg, Margarethe von Trotta, Wim Wenders

	•	Australian New WaveThe New Asian Cinema: Masaki Kobayashi, Teshigahara, Nagisa Oshima, Kaneto Shindo, Masahiro
		Shinoda, Susumu Hani and Shohei Imamura 

	•	Iranian New Cinema: Abbas Kiarostami, Jafar Panahi,  Samira Makhmalbaf, Asghar Farhadi, Majid
		Majidi, Mohsen Makhmalbaf

	•	The Counter-Cinema of the Berlin School: Christian Petzold, Thomas Arslan, Angela Schanelec
		Christoph Hochhausler, Benjamin Heisenberg, Maren Ade, Henner Winckler

	•	The Counter-Cinema of Egypt: Philip Rizk, Jasmina Metwalli, Hala Lotfy, Nadine Khan Link

References to use for research:

	•	Montage. Sam Rohdie, Manchester University Press, Manchester: 2006
	•	Fine Cuts - The Art of European Film Editing. Roger Crittenden, Focal Press, 2006
	•	In the Blink of an Eye: A Perspective on Film Editing. Walter Murch, Foreword by Francis Ford Coppola, Silman-James Press 2001
	•	Cinema: The Whole Story, Philip Kemp, foreword by Sir Christopher Frayling, Thames & Hudson, 2011.
	•	First Cut: Conversations with Film Editors, Gabriella Oldham,  University of California Press, 1992.
	•	Senses of CinemaFilmsiteTaste of CinemaNo Film SchoolEvery Frame a PaintingFilmmaker IQLearn About FilmFilm SoundSound DesignThe Cutting EdgeHistoire(s) du cinéma

Rules in Class

1. Whoever is more than 15 minutes too late – no attendance

2. No leaving of the class in-between: not for toilet, a phone call, water etc. All this you can do in the break. If you leave: No attendance.

3. No food or mobile in class.

4. If you don´t present anything at the Work in Progress Presentation – zero points. Same for the Final Presentation.

5. If you can´t make it to the class for medical reasons, let me and Abla know at least one day in advanced 6pm via GUC mail, same for presentations.


1. All practical assignments 50% of the overall grade (Presentation, Concept, Aesthetics, Complexity (effort), Creativity, "packaging" (proper Format & Credits)

2. Presentation on a New Wave and Handout 30%

3. Class Work / Work in Progress 20%

4. Assignments have to be submitted 30 minutes before class on the day of the presentation (Final / Work in Progress) to Abla on a USB-Stick.

Date Topic Presentation
Assignment 01. Visual Content for Makan/Music Ensemble
No Presentations
No Class
Assignment 01. Work in progress
No Presentations
Visual Content for Makan/Music Ensemble Wednesaday G.1
No Presentations
Thursday G.2
No Presentations
Timeline Discussion Wednesaday G.1
No presentations
Thursday G.2
Italian Neo-Realism
By: Aya El Tellawy, Omneya Serry and Mariam Ammar
The Golden Age of Egyptian Cinema
By: Heba Badawy and Salwa El-Nahal
Timeline Discussion Wednesaday G.1
The Revolution in Russian Cinema
By: Besan Mahmoud and Nabil Khaled
Italian Neo-Realism
By: Yasmine Khaled and Trevina Wasfi
Thursday G.2
The Golden Age of Asian Cinema
By: Lina Fakahany, Tasneem Tawakol and Salma Hany
Nouvelle Vague
By: Alia ElMazni and Malak Akef
Midterms // No class No Presentations
Consultations No Presentations // Consultations Schedule
Wednesaday G.1
Nouvelle Vague
By: Aya El Sayed, Mahnaz Aziz and Salma Magdy
Rive Gauche
By: Maram Amr, Rawa Kamal, Malak Gehad and Mariam Atef
Thursday G.2
British New Wave
By: Omnia Magdy, Omar El Shimy and Eman Zohdy
Australian New Wave
By: Aya Wahsh, Raghda Khaled and Matab Khaled
Consultations Wednesaday G.1
The New Hollywood
By: Fady Fayez, Abdel Rahman El Kady, Adham Awad and Alii Hany
Iranian New Cinema
By: Abdul-Rahman Mostafa and Omar Khaled
Thursday G.2
The New Hollywood
By: Youssef Adly and Yehia Fahim
Iranian New Cinema
By:Sondos Tarek, Nouran Waheed and Noura Abdel Rahman
Consultations Wednesaday G.1
The Counter-Cinema of Egypt
By: Noor Emad, Reem Akl, Mariam Tarek and Abdel Rahman Eldash
Thursday G.2
The Counter-Cinema of Egypt
By: Shahd El Shaarawy, Habeeba Tarek, Salma El Serafy and Nada Felaefal
Concert No Presentations
Consultations No Presentations
No Teaching Activity
No Presentations