Spatial montage presents multiple images simultaneously rather than sequentially, enabling parallel narratives and immersive environments

Sequential montage (the cinema norm) presents shots one after another in time. Spatial montage, theorised by Lev Manovich, presents multiple ‘shots’ simultaneously in space — side by side or as layers. This was the dominant mode of Western representation before cinema standardised the sequential format (e.g. medieval altar polyptychs, Bosch’s multi-scene paintings). In live cinema, spatial montage appears as multi-screen setups and composite layers. Mike Figgis’s Timecode (2000) split the screen into four quarters of simultaneous action. For live performers, understanding spatial montage opens multi-screen and layering strategies as compositional tools.

Examples

Timecode (2000): four simultaneous camera feeds in screen quadrants; sound mix steers attention. Live cinema: three projectors showing different layers of an audiovisual composition.

Assessment

Describe how spatial montage changes the viewer’s role compared to sequential montage. What compositional responsibilities does the performer take on when using multiple simultaneous screens?