Time in cinema: the influences of montage in the syncretic language

Abstract

The art of cinema has substantive and procedural peculiarities in its construction as language, a system of meaning with specific operation which makes it different from the verbal language, sound, visual and other forms of expression. We understand that the importance of mounting technique in the organization and design of film narrative was important to filmmakers and film theorists, as the various effects attributed to the meaning from this technical device were investigated. Regarding the temporal construction in linear filmic compositions, generally the notion of precedence and posterity is built on chronological time that corresponds to the narrative flow and move their continuity. The dimension of time has the peculiarity to develop into specific formal values, to organize the space and other diegetic elements such as music in a time series and make the impression of reality to the film. We observe some peculiar forms of mounting influence the temporal construction of the films. In this way, we analyze excerpts from some films: Gata velha ainda mia (2013), by Rafael Primot; 2001 – A Space Odyssey (1968), by Stanley Kubrick and Melancholy (2011), by Lars von Trier, to comment the syncretic language.