"In a number of ways montage is the most appropriate form of representing everyday life as the pell-mell of different worlds colliding. Firstly, collage can be seen as a theory of shock […] the idea that the collaged fragment has some kind of ‘charge’ that is released when it is brought into contact with a different kind of element […] in the heterogeneous world of everyday life, such collisions are inevitable […] Secondly, montage allows for the simultaneity of difference within the everyday to be represented […] Thirdly, and associated with this, is the refusal of montage to subsume these diverse elements into a homogenous whole […] collage offers a bombardment of materials that resist narrative resolution […] Similarly, because the elements of a collage often utilize different representational modes […] there is the possibility of disarticulation, where the disruption of one element by another challenges the authority of one representational mode and allows the problematizing of representation itself. Lastly, and again related to the previous points, the potential of montage is the production of a representation where the fragments of everyday life aren’t welded together in the service of an overarching framework, but neither is the ‘totality’ abandoned in favour of endless fragments."

Highmore, B (2002) 'Mass-Observation' in Everyday Life and Cultural Theory: An Introduction London: Routledge