Besides Film, What Are Some Other Ways We Experience the Split-Screen, I.E., the Multiplied, Multi-Layered Image, in the World Around US?
It is used to describe the technique in making movies and television programs in which two different pieces of film are shown at the same time.
These works foreground the commitment to the split-screen device as a stylistic hallmark.
While this basic assumption is valid for all of cinema that functions according to the dominant ‘as if’ logic in which the spectator temporarily suspends her disbelief, the use of the split screen also emphasises the intricacies of media transitions (Bukatman, S. 1998). The three distinct episodes from the history of the split screen discussed in this article highlight three corresponding moments of media transformation: the everyday proliferation of the telephone in the 1950s, the diffusion of television in the 1960s and the explosion of digital media culture (the internet and the computer) in the 1990s (Caldwell, J.T. 1995). The films discussed above address these changes in terms of temporal and spatial mutations that act as allegorical configurations of changing media practices.
Bourgoin, S. 1986. Richard Fleischer. Paris: Edilig.
Bukatman, S. 1998. Zooming Out: The End of Offscreen Space. In The New American Cinema, ed. Jon Lewis, 248-71. Durham: Duke University Press 1998.
Caldwell, J.T. 1995. Televisuality: Style, Crisis and Authority in American Television. New Brunswick: Rutgers University Press.