Metric montage meaning6/22/2023 Cubism, in the hands of artists like Braque and Picasso, used the collage technique in order to assimilate several points of view of a particular subject at once on a two dimensional surface. This is because of our innate ability to perceive patterns and connections in seemingly inconsistent situations and establish associations between new stimuli and older, familiar cognitive frameworks so that we can use the familiar stimulus as reference to easily fit the new stimulus into our perception. This approach conveys a complete meaning despite being structured out of disjointed units. Collage, as an independent medium, involves creating an artwork out of cut out components from printed material and sometimes, non-paper elements. This process, known as collage or montage or bricolage, is able to function as a medium by itself as well as a technique employed in other media. This product then behaves as one whole work in itself rather than as separate structural elements. The dissertation is a compilation of the different ways in which different forms of media use the methods of assemblage of isolated elements to create a uniform end product. Implications of these findings are positioned in larger themes of dynamic media environments and effects in user-generated content and culture. Through manipulations of the audio tracks of the widely popular movie Twilight Eclipse, results of this study confirm that music is a significant factor in shaping audience interpretations of this film in user-generated content, even when taking into consideration consecutive exposure conditions. Here, an online experiment presented visually identical film trailers with two highly unique musical tracks to examine the influence auditory context has on viewers' impressions of user-generated media. This study begins to fill this gap in academic research by empirically examining the psychological effects of music in interpreting visual information at the intersection of these approaches are the concepts of media produsage (Bruns, 2009) and user-generated culture. However, previous research has often taken music into account as an independent entity that is separated from visual information (Shevy & Rouner, 2004) and few studies have emerged to consider the role of music in user-generated culture. Most scholars agree that music can have psychological and cognitive effects on audiences and extensive research has been conducted on the effects of mainstream music, music in films, and music in television commercials and documentaries (Moore, 2010). It is suggested that Mao’s documented decision to use this image on renminbi instead of his own otherwise ubiquitous portrait reflects a perception of the propagandistic value of this visual syntax, and that both Mao’s posthumous reappearance on Chinese currency and the icon’s transformation on fourth-series renminbi from class pairs gazing upward to ethnic pairs gazing laterally reflects, among other things, the Deng-era shift from a hieratic semantics of charismatic legitimation to a more sober strategy of legitimation by political and economic rationalization. An examination especially of the film work of Dziga Vertov shows that the icon encodes in its visual syntax techniques of political, technological, and media pedagogy meant both to form the “new Soviet man” and to orient populations within a chain of symbolic identifications supporting the charismatic authority of their leaders. It argues that this iconic type-familiar not only from Stalinist but also from Italian Fascist and German National Socialist imagery-arose initially as a consequence of the legitimation crisis provoked in the USSR by Lenin’s death in January 1924, and that it may have originated in cinema before spreading from there to photography and poster art. This paper traces the history of an iconic Socialist Realist image-that of the worker, peasant, soldier, or leader viewed from below whilst gazing heroically into the symbolic dawn of a Socialist future-from its origins in mid-1920s Soviet Russia through its use on three banknotes in Communist China’s first renminbi series of 1949 to its effective dissolution in the iconography of Deng-era currency.
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