Each Image Has Its Own Story To Tell

Manovich’s basic idea of spatial montage is that “In general, spatial montage would involve a number of images, potentially of different sizes and proportions, appearing on the screen at the same time.” (Manovich 2002)

However, as he continues, "This by itself of course does not result in montage; it up to the filmmaker to construct a logic which drives which images appear together, when they appear and what kind of relationships they enter with each other," it gets a bit more complicated. There are several types of spatial montage that I'll aim to clarify in this summery blog post.

Manovich's definition of Spatial Montage: "spatial montage means meaningful juxtaposition of more than one image stream within a single screen."

Split Screen: "Is usually used as a synonym of multiple-image or multi-frame compositions."  (Branco 2008) David Bordwell and Kristin Thompson also state in a wider aspect, “In this process, two or more different images, each with its own frame dimensions and shape, appear within the larger frame” (2007, 187)
  • Suspense (1913 - one of the earliest example of using split screens as a way to draw narrative)
  • Symmetry  (Classic example of a split screen)
  • 3 Words  (An interesting integration of digital editing and split screen)
Mosaic-screen is also similar technique that presents fragments on screen to produce similar effect to the split screen. "The mosaic-screen arranges diverse images normally with distinct aesthetic properties: colour, scale, framing, and especially shape and size, which are somehow independent from the encompassing dimensions of the screen that are divided by the split screen." (Branco 2008)
Reference:

Bordwell, D. and K. Thompson. 2007. Film Art: An Introduction, 8th ed. New York: McGraw-Hill.

Manovich, L. September 2002.The Archeology of Windows and Spatial Montage.

Branco, Sergio. 2008,“The Mosaic-Screen: Explanation and Definition” Refractory: a Journal of Entertainment Media, vol. 14, no.2