Abstracts
Abstract
How was editing imagined during the transitional period, as cinema became an institution? How closely did the trade press’s representation of editing, as a formal system subject to change, align with trends apparent on the screen? Did commentators of the day register editing’s changing functions? To what degree can we detect an “editing consciousness” within the trade press, and how did it operate in the crucial years of 1913-17? To better answer these questions, this essay looks at the terminology that writers employed when writing about editing during these years, the advisories that they issued, and the factors that may have influenced their conceptions of editing. These observations will help us define with more precision how the industry reconciled itself to editing’s ascendancy and reaffirm the uneven contours of the process of institutionalization.
Résumé
Comment imaginait-on le montage au cours de la période de transition, alors que le cinéma devient une institution ? Dans quelle mesure la représentation du montage en tant que système formel sujet au changement que l’on trouve dans la presse spécialisée de l’époque correspondait-elle aux tendances qui apparaissent à l’écran ? Les commentateurs avaient-ils remarqué les fonctions changeantes du montage ? À quel point peut-on détecter une « conscience du montage » dans la presse spécialisée, et comment opérait-elle au cours des années cruciales de 1913 à 1917 ? Pour mieux répondre à ces questions, cet article examine la terminologie employée par les auteurs pour écrire au sujet du montage durant cette période, les avis qu’ils ont émis et les facteurs qui peuvent avoir influencé leurs conceptions du montage. Ces observations permettent de définir plus précisément la manière dont l’industrie s’est réconciliée avec l’ascension du montage et de réaffirmer les contours inégaux du processus d’institutionnalisation.
Appendices
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