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Saul BassAnatomy of Film Design$
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Jan-Christopher Horak

Print publication date: 2014

Print ISBN-13: 9780813147185

Published to Kentucky Scholarship Online: May 2015

DOI: 10.5810/kentucky/9780813147185.001.0001

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Modernism’s Multiplicity of Views

Modernism’s Multiplicity of Views

Chapter:
(p.191) 4 Modernism’s Multiplicity of Views
Source:
Saul Bass
Author(s):

Jan-Christopher Horak

Publisher:
University Press of Kentucky
DOI:10.5810/kentucky/9780813147185.003.0005

Saul Bass was a master of montage, cutting together his title sequences and commercials out of numerous individual shots whose meaning could be read only through their syntactical juxtaposition. Bass was fascinated by body parts, which were central to much of his design and film work. By the early 1960s, Bass had gained significant experience as a filmmaker, not only by editing live-action title sequences for Attack! and The Big Country but also through his work on commercials. For Grand Prix, Bass solved the problem of the extremely wide screen by creating multi-image montages that split the screen into as many as sixty-four different frames. In The Solar Film Bass constructed his narrative by treating images almost like words, developing segments around visual themes and then building up individual segments into larger montages of images and ideas.

Keywords:   montage, body parts, split screen, Grand Prix, The Solar Film

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