This paper examines the philosophic concept of critical realism and assesses its claim to provide a theory of knowledge which penetrates the surface appearance of reality to 'reveal things as they really are'. This concept of realism is discussed in relation to applications made within the realm of art. Three examples of montage practice specific to the inter-war period are discussed. The effectiveness of these art practices is assessed in relation to the theoretical debates conduced during the period which focused upon the issues of realism.

In discussing the technique of montage and how it might be used as a contemporary vehicle for creating a 'realist effect', the issue of popular form is considered. In relation to this, particular attention is paid to the persistence of montage in popular culture.

A discussion of the practical aspect of my project contains an assessment of the cultural role of digital imaging and its relationship to the photographic image. This is followed by a description of the montage technique used in my practical work which locates the factors which have defined its subject matter. One image from the practical component is discussed in detail and assessed as to how it might constitute a critical realist practice.