The Soviets, especially  Vertov and Eisenstein, included superimposition in
the montage techniques.

''In *Eisenstein's* words, the *superimposition* of distinct visual and
audio effects "doubles up" the power of each component, thus "squaring" the
final impact.''
*Eisenstein* at 100: A Reconsideration - Page 95
<http://books.google.com.pr/books?id=qk9XxQnieQMC&pg=PA95&lpg=PA95&dq=superimposition+eisenstein&source=bl&ots=rb7i7W4dyQ&sig=CKBfsGkRc6WBvhw_bWz28f-qXl4&hl=en&sa=X&ei=61JVU6CuFKazsASzhICwCg&ved=0CCcQ6AEwAA>

http://books.google.com.pr/books?id=qk9XxQnieQMC&pg=PA95&lpg=PA95&dq=superimposition+eisenstein&source=bl&ots=rb7i7W4dyQ&sig=CKBfsGkRc6WBvhw_bWz28f-qXl4&hl=en&sa=X&ei=61JVU6CuFKazsASzhICwCg&ved=0CCcQ6AEwAA#v=onepage&q=superimposition%20eisenstein&f=false


On Thu, Apr 17, 2014 at 9:57 PM, Beebe, Roger W. <beebe...@osu.edu> wrote:

>  Leighton Pierce has made a career of finding ways to “overcome the cut”
> as he once put it, primarily by using very complex systems of
> superimposition.  Some of his work can be found on his Vimeo channel.
>  There’s of course a long history of superimposition in experimental
> cinema—“Fall of the House of Usher” and “Lot in Sodom” are both early
> masterpieces in that idiom—but I’m supposed to be grading, so I really
> can’t fall down this rabbit hole now!
>
>  Best,
> Roger
>
>   On Apr 17, 2014, at 9:50 PM, Kerekes Anna <kerekes.a...@gmail.com>
> wrote:
>
>  Dear Franworkers,
>
>  I appeal to your expertise on superposition as editing practice. As an
> artist, I’m working on an installation project which calls me to set up a
> taxonomy of superposition in the field of moving images (film, video,
> digital moving images). I would very much appreciate your references
> relevant to this topic.
>
>  Thanks in advance for any suggestions you might have,
> All the best,
> Anna Kerekes
>
>  -
> Anna Kerekes <http://www.linkedin.com/pub/anna-kerekes/2b/257/292>
> +1 (438) 886-0824
> kerekes.a...@gmail.com
>
>
>
>
>
>
>
>
>
>
>
>
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