Time and Montage: Dialogues between Cinema and Psychology

Abstract

The article tries to invoke that time and montage, besides being operative and technical concepts of the cinematographic language, allows reflections about the existence itself. From these two common words in cinema, the article shows a possible presence of time and montage in the production of knowledge in Psychology, in what concerns research methodologies and studies about subjectification processes. The concept of montage is worked dialectically between its presence as a founding technique of cinema and as method proposed by Walter Benjamin referring to the narrative composition of the lived. The concept of time came from Gilles Deleuze’s philosophy of cinema and the Benjamin’s theses about history. The text puts into practice the method of montage as a way of giving body to a thought, also conceiving a flâneur experience that pervades different theories about cinema, time, and montage. Thus, the text itself is written as a montage, divided in ten scenes and their respective planes, composing a whole work from reflexive fragments.

Keywords:
Time; Montage; Cinema; Psychology; Epistemology