Luis Banuel in his article Decoupage, or Cinematic Segmentation, attempts to communicate the complex concept of decoupage and its importance in successful film making. Banuel describes decoupage as the “simultaneous separation and ordering of the visual fragments contained amorphously in a cinematic scenario.” However he alludes to decoupage being so much more as he argues that the intuition of a film comes to life through the process of decoupage. The authenticity in creating film, is acquired through its segmentation, and ideal segments are the decoupage and material segments are merely a montage. To me, this layering effect of the director’s vision is where creative licence plays the most important of roles in the architecture of a successful film. Thus, under good direction with considerations of decoupage, the nuances of film making are picked up affecting tone and feel, resulting in a better told narrative.

Furthermore, Banuel argues that decoupage is inherent in film making and that even “the very act of setting one’s camera before an object … presupposes the existence of a decoupage.” However he does acknowledge that there is room for error, as circumstances or realisations may arise which make it necessary to improvise or reconsider one’s decoupage. This I find, is a highly important principle for a film student. It is imperative that a film maker be adaptable and quick-thinking should a problem occur. Additionally, the solution to this problem must not just be one of mere convenience but again it should be calculated and considered (in an ideal world of course).

Banuel likens decoupage to the lens- it is fundamental in the notion of film. However he dismisses editing as simply “…putting the hand to the plow.” He argues that editing is extremely manual and yet considerers it a delicate operation. This discrediting of editors is incredibly unfair as I feel that there is much more substance to editing than simply making a cut. To do the the director’s decoupage justice, an editor must make considered decisions and understand the tone and feel the director is attempting to achieve. Without an editor that takes into consideration the director’s creative flow, a carefully thought out decoupage could almost be completely lost.

From this thought provoking reading, I am now encouraged to think more about decoupage in future class exercises. I realise now that all choices in film are deliberate and that I must think critically about the ones I make.

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