Although most of the articles posted on CINE FEEL YEAH are critical essays about individual movies or fun examinations of any bit of movie ephemera, from time to time I feel compelled to write at length on not-so-easily classifiable topics. In the beginning, I tackled subjects such as my first sustained experience of movie fandom, director Steven Soderbergh’s propensity for film stories about characters’ work lives, and a cultural critic’s wrong-headed idea that young people today don’t like so-called “old movies,” among others.
This hodgepodge of articles represents a kind of montage, which is just another word for “editing,” or the choosing and stitching together of shots. While technically, as a self-proclaimed “cinecurator,” I write, edit, and categorize everything on this site (aside from comments, of course), “Montage” should be viewed as a collection of commentaries that fill in the gaps between those essays filed under “Long Takes,” “Quick Edits,” and “Jump Cuts.” “Montage,” in other words, provides context for all edits.
It might have been easier to say that posts under the “Montage” heading are shots left on the cutting room floor, that they didn’t make it into the final film built around the aforementioned “edits,” but that would render them abject, forgotten—or at least until the DVD or Blu-ray comes out. No, “Montage” articles should be looked at in tandem with all others. You might even say the other cuts are what give “Montage” its momentum and push the experience of CINE FEEL YEAH along.
NOTE: Hover over “Montage” in the navigation menu to see the most recently published essay titles. You can always look here for the full listing of such articles.