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Bibliographie Montagetheorie 2003 Repositorium für die Medienwissenschaft Gerhard Schumm Bibliographie Montagetheorie 2003 https://doi.org/10.25969/mediarep/12851 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Schumm, Gerhard: Bibliographie Montagetheorie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 47). DOI: https://doi.org/10.25969/mediarep/12851. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0047_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere. 47, 2003: Montage. ISSN 1613-7477. Redaktion und Copyright dieser Ausgabe: Gerhard Schumm. Letzte Änderung: 13. März 2001. Eine weitere Online-Fassung dieser Bibliographie findet sich unter: http://www.montagetheorie.de/index_resources/litlist/litlist_mont/montlit.html. URL der Hamburger Fassung: http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0047_03.pdf. Bibliographie Montagetheorie Zusammengestellt von Gerhard Schumm Künstlerische Filmmontage ist beides: theoretisch C.1 Montagetheorie reflektierte ästhetische Praxis und praktisch gewen- C.2 Montagetheorie: Explorativ-experimen- dete Theorie. Die Bibliographie “Montagetheorie“ telle Montageforschung soll anderen die Arbeit an solchem breiten Montage- C.3 Montagetheorie: Montage als Autorientä- begriff erleichtern. Sie ist von Studierenden und mir tigkeit - Found-Footage-Film, Kompilations- als Arbeitsmaterial für den “Studiengang Schnitt/ film, Filmtrailer-Montage, Montagevariation Montage“ an der HFF-Babelsberg zusammengetra- C.4 Montagetheorie: Montage - Assemblage - gen worden. (Die nicht getilgten Signaturen der Collage - Zitat / Montage als ästhetisches HFF-Bibliothek und auch die studiengangsinternen Verfahren der Moderne / Montage in Bezie- nicht-öffentlichen Arbeitspapiere (Übersetzungen, hung zu anderen Künsten Typoskripte usw.) lassen das erkennen.) Es wäre D: Filme über Filmmontage: Internet-Linkliste rücksichtsvoll, wenn ich nicht für Literaturrecher- “Filmmontage“ (under construction) chen, sondern lediglich für Danksagungen kontak- tiert werden würde. Meine Danksagungen gehen an Tina Hillmann, Eberhard Nuffer und viele andere, deren Arbeit hier eingegangen ist. A.1 Montagetechnologie allgemein Die Arbeitsbibliographie “Montagetheorie“ umfaßt: Amyes, Tim (1993) The Technique of Audio Post-Production in Video and Film. Oxford / Bo- A: Material- und werkzeugorientiert: Montage- ston: Focal Press. technologie A.1 Montagetechnologie allgemein Dmytryk, Edward (1984) On Film Editing. An Intro- duction to the Art of Film Construction. A.2 Montagetechnologie-Geschichte Boston/London: Focal Press. A.3 Montagetechnologie - speziell 16mm/35mm-Filmmontage Herbst, Helmut (1989) Kopf-Werk & Hand-Zeug. Zusammenhänge zwischen Technik und Filmästhe- A.4 Montagetechnologie - speziell Analoge tik. Insbes. Kapitel: Die Montage und die Ungenau- Videomontage igkeit des Gefühls. In: Petzke, Ingo (1989) Das Ex- A.5 Montagetechnologie - speziell Digitale perimentalfilm-Handbuch. Frankfurt: Deutsches Videomontage Filmmuseum. S. 103-144. B: Prozeßorientiert: Ästhetische Verfahrenswei- Herbst, Helmut (1977) Fotomontage - Filmmontage. sen, Montagegespräche, Berufsbild Einige Anmerkungen. In: Siepmann, Eckhard (1977) B.1 Werkstattberichte, Werkstattgespräche, Montage: John Heartfield. Vom Club Dada zur Ar- Biografien, Berufsbild, Cutter(innen) beiter-Illustrierten Zeitung. Dokumente - Analysen - C: Werkorientiert:Montageanalysen, montagebe- Berichte. Berlin: Elefanten Press. S. 263-270. zogene Filmtheorie Montage // Medienwissenschaft/Hamburg, 47, 2003 /// 2 Le montage de cinema et de television et la formati- ARRI Stumpfklebegerät für 16-mm-Film (1963) on professionelle. Rapports présentés au congrés [...] [o.A.]. In: Film-Technikum 14, 7, S. 239. (1995) Paris: Centre International de liason des Es- coles de cinema, 1965. 161 S. Ateliertechnik und Filmbearbeitungsmaschinen. 5. photokina-Bericht (1961) [o.A.]. In: Kino-Technik Levy, Edmond (1994) Making a winning short: how 15, 3, S. 76-84. to write, direct, edit and produce a short film. New York: Holt Co. Auf der photokina gehört und gesehen (2) (1976) [o.A.]. In: Der deutsche Kameramann 25, 12, S. Lipton, Lenny (1972) Independent Filmmaking. San 378-380. Francisco: Straight Arrow Books. Auf der photokina vorgestellt: Neuheiten der Bran- Pincus, Edward (1969) Guide to Filmmaking. Ney che (1958) [o.A.]. In: Film-Technikum 9, 10, S. York: New American Library. 361-365. Polzer, Joachim (1999) Film is over. In: Weltwunder AVIM (1985) Cinemonta macht die Filmbearbeitung der Kinematographie. Hrsg. von Joachim Polzer. leichter. Prospekt. S‘Gravenhage. Fünfte Ausgabe. Sommer 1999. Berlin: Verlag der DGFK. S. 135-153. Baltzer, J. (1939) Material- und Arbeitsersparnis bei der Nachbearbeitung von Bildtonfilmen. In: Kino- Rabiger, Michael (2000) Dokumentarfilm drehen. technik 21, 12, S. 265 - 268. Ffm: Zweitausendeins. Bearbeitungs- und Kontrollgeräte für Filmmaterial Inbesondere: Kap. VI. (1957) [o.A.]. In: Kino-Technik 11, 2, S. 61-62. Behrendt, W. (1954) Der Film als wertvoller Helfer der Fernsehtechnik. In: Kino-Technik 8, 7, S. 204. A.2 Montagetechnologie-Geschichte Bericht über die photokina 1974. Schneidetische - Abbott, Denise (1988) Memoirs of the Magnificent Lampen und Leuchten (1975) [o.A.]. In: Fernseh- Moviola. In: American Cinemeditor, Vol. 38, No. 2. und Kinotechnik 29, 1, S. 22-26. Im Internet veröffentlicht unter http://www.mo- Beschriftungsgerät für Magnetfilm (1951) [o.A.]. In: viola.com/movioladigital/history. Kino-Technik 5, 9, S. 185. Abhörtisch Moritone (1935) [o.A.]. In: Filmtechnik, Betrachtungsapparat (1927) [o.A.]. In: Filmtechnik, 11, 3, S. 27. 3, 3, S. 45. Acmade Ltd. (o.J.) Motion Picture Engineers. Manu- Bevier, Günter (1975) New Techniques for Editing facturers of Acmade Equipment. Prospekt. Ux- Multiple-Camera and Non-Slated Films. In: Journal bridge. [50er Jahre]. of the SMPTE Vol. 84, Aug., pp. 596-599. Adam, Moritz (1927) Im Nebenraum. In: Filmtech- Bevier, Günt[h!]er (1985) Filmwiedergabe mit opti- nik 3, 26, S. 471-473. schem Ausgleich. In: Fernseh- und Kinotechnik 39, Alster-Film - 25 Jahre (1971) [o.A.]. In: Fernseh- 11, S. 533-536, 539. und Filmtechnikum 22, 5, S. 186-187. Bevier, Günter (1994) Schneidetische. Unveröffent- Arnheim, Rudolf (1930) Beitrag zur Krise der Mon- lichtes Manuskript für die Zeitschrift “Fernseh- und tage. In: Filmtechnik 6, 22.2., S. 9-11. Kinotechnik“. Ohne Seitenzählung. Hamburg. Arnold (1967) Kombinierte Schneide- und Klebeleh- Bolewski, N[orbert] (1974) Rückblick auf die Photo- re für Magnet- und Bildfilme. In: Film-Technikum kina 1974. In: Fernseh- und Kino-Technik 28, 10, S. 18, 4, S. 103. 297. Arnold & Richter (o.J.-a) ARRI Filmschneidetisch Bolewski, N[orbert]/Boltz, K. (1978) photokina-Be- BTM 616. Prospekt. München [1981 od. 1983?]. richt 1978. B. Projektoren - Schneidetische - Lam- pen und Leuchten. In: Fernseh- und Kinotechnik 32, Arnold & Richter (o.J.-b) Filmbearbeitungsgeräte. 11, S. 447-452. Prospekt. München [ca. 70er Jahre]. Montage // Medienwissenschaft/Hamburg, 47, 2003 /// 3 Bolewski, N[orbert] (1982) Professionelle Filmtech- Dietrich, M./Deglmann A[lfred] (1943) Ein neuer nik auf der Photokina vom 6. bis 12. Oktober 1982. Abhör- und Schneidetisch. Mitteilung aus dem Ar- In: Fernseh- und Kino-Technik 36, 9, S. 337. beitsgebiet der Klangfilm G.m.b.H. In: Kinotechnik 25, 4/5, S. 49-53. Brogmerkel, Karl (1955) Die Anfänge der deutschen Tonfilmindustrie. 3. Teil. In: Bild und Ton 8, 2, S. Dmytryk, Edward (1998) From Projectionist To Edi- 53-55 tor To Director. In: The Motion Picture Editors Guild Newsletter Vol. 19, No. 1. Brown, Harold (o.J.) Fantastic Formats. Film For- mats - Past, Present & Future. Begleitheft zum Se- Im Internet unter: minar auf dem Widescreen Festival, Bradford http://www.editorsguild.com/newsletter/janfe- [1997]. b98/ dmytryk.html. Brownlow, Kevin (1969) The Parade‘s Gone By.. 2. Dörfler, Michael (1997) Veränderung der Filmästhe- Auflage. London: Secker & Warburg. [Erstausgabe: tik durch den digitalen Schnitt. Schriftliche Hausar- 1968]. beit zur Erlangung des akademischen Grades “Di- plom-Kommunikationswirt“ am Fachbereich 2, Stu- Brüning, Elisabeth (1929) Heranwachsen eines Be- diengang Gesellschafts- und Wirtschaftskommuni- rufes. Bedeutung und Technik des Tonschnitts. In: kation. Berlin: Hochschule der Künste. Filmtechnik 5, 3. 8., S. 340-341. Elektronischer Filmschnitt (1964) [o.A.]. In: Bücken, Rainer (1984) ARRI-VAFE: Filmschnitt Film-Technikum 15, 3, S. 83-86. mit Videounterstützung. In: Film- & TV-Kamera- mann 33, 11, S. 804-808. Emmermann[, Curt] (1927) Filmkittschere. In: Film- technik 3, 24, S. 429-430. Carl Jost 60 Jahre (1950) [o.A.]. In: Foto-Kino-Technik 4, 6, S. 197-198. Ericson, Rune (1986) Three-Perf in the Future?. In: American Cinematographer Vol. 67, No. 7, pp. Cinette-Schneidetische verbessert (1961) [o.A.]. In: 71-74. Kino-Technik 15, 4, S. 132-133. Erster Rundgang durch die Photokina 1956 in Köln Crane, G.R./Hauser, Fred/Manley H.A. (1953) (1956) [o.A.]. In: Kino-Technik 10, 9, S.
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