Pilosophical Pre-structures of the Montage/Mise-en-scene Conflict and Classical Paradigm Approaches

The theory of montage in cinema is based on formalism, and the theory of mise-en-scene is derived from the author's view and from realism. It seems that the philosophical pre-structures of the two theories, one based on holism and structuralism, and the other on particularism and phenomenology, have deep roots in a classical historical philosophical conflict. In the montage view, cinema reaches a meaningful whole through the assembly of the components, and in the mise-en-scene view, the shot (plan) alone both makes sense and also phenomenonize the reality. The traces of this conflict have been lost in contemporary theories in the fields of semiotics, semantics and linguistics. This paper tries to show that despite the preservation of the paradigms of traditional and classical philosophy, approximation of the mise-en-scene and montage theories is possible by searching the lane of the parties to the dispute. The research is based on the library method and has been carried out with the descriptive-analytical method.