ABSTRACT
This conclusion presents some closing thoughts on the concepts covered in the preceding chapters of this book. The book traces the emergence and described the evolution of two artistic concepts, collage and montage, across several arts and media of the early avant-garde–visual arts, literature, film, and music–with the help of the theory of intermediality. It explores visual and verbal collages, by pointing out that visual collage is a complex procedure of vision, which creates not only visual confusions but also inquires into the nature and types of possible models of visual representation in Picasso’s collages from the years 1912 to 1914. The book shows that only Erik Satie’s music for Parade was affected by the phenomenon of direct intermedial transposition, due to Satie’s close collaboration with Picasso during the production of the ballet. It highlights the second most visible transposition of the technique of collage into the medium of photography.
