Post on 05-Apr-2018
transcript
7/31/2019 Avant Garde Film
1/15
Avant-Garde &Experimental Film
7/31/2019 Avant Garde Film
2/15
Phases of the avant-garde / experimental
phase 1: German "graphic" cinema of theearly twenties (Expressionism).
phase 2: the rise of French Cubist, Dada,cinma pur and Surrealist filmmakingthrough into the 1930s.
phase 3: U.S. American experimental cinemafrom the "trance" to the "mythopoeic" filminto 1950s-60s.
phase 4: With "structural film" of the lateSixties, avant-garde filmmaking againbecame more broadly international
7/31/2019 Avant Garde Film
3/15
7/31/2019 Avant Garde Film
4/15
Definitions of avant-gardeand experimental film
It is created by one person, or occasionally a
small group collectively, working on a minuscule
It eschews the production-line model by whichthe various functions of filmmaker are divided
among different individuals and groups
It does not try offer a linear story that unfolds in
the theatrical space of mainstream narrative
7/31/2019 Avant Garde Film
5/15
Definitions of avant-gardeand experimental film
It makes conscious use of the materials of cinemain a way that calls attention to the medium, anddoes not do so in scenes bracketed by others in amore realistic mode that would isolate the
"experimental" scenes as dream or fantasysequences
It has an oppositional relationship to both thestylistic characteristics of mass media and thevalue systems of mainstream culture
It doesn't offer a clear, univalent "message.
7/31/2019 Avant Garde Film
6/15
European Avant-Garde
a situation in which polemics about film and itsmodernist context thrived. This produced
Impressionist, DaDaist, Cubist, and Surrealistexperiments, all of of which conceived of film as anart whose specific nature was visual, and all of whichtook various positions in relation to the narrative,
fictional component of the art. This led to an emphasison the visual image, on mise-en-scene, on montage,and on technical devices of lighting and cameraworkas opposed to what was conceived of as the narrative
linearity of the literary or theatrical commercialcinema.
from Flitterman-Lewis, To Desire DifferentlyFeminism and the French Cinema, pg 81
7/31/2019 Avant Garde Film
7/15
European avant-garde
1. primarily an attack on the status ofart in bourgeois society;
2. not a negation of past art or style, but a
negation of art as an autonomousinstitution unassociated with life;
3. to this end it rejects the rationality of
the present
4. attempts to join art + life, providing afoundation for life in the creative act.
7/31/2019 Avant Garde Film
8/15
Duchamp readymades
7/31/2019 Avant Garde Film
9/15
"Surrealism is based on the belief in the
superior reality of certain forms ofpreviously neglected associations, in theomnipotence of dream, in the
disinterested play of thought. It tends toruin once and for all other psychicmechanisms and to substitute itself for
them in solving all the principal problemsof life."
7/31/2019 Avant Garde Film
10/15
Un Chien Andalou
7/31/2019 Avant Garde Film
11/15
Buuel and Dali
NOTHING in the film, SYMBOLIZESANYTHING. The only method ofinvestigation of the symbols would be,
perhaps, psychoanalysis.
7/31/2019 Avant Garde Film
12/15
American Avant-Garde
Where does the film go against yourexpectations?
How does it use experimentalcinematographic techniques ?
How are symbols used --objects that seem tohave an importance beyond their everydayfunction in the world or in this film?
7/31/2019 Avant Garde Film
13/15
Maya Deren
7/31/2019 Avant Garde Film
14/15
Avant-Garde film today
http://vimeo.com/21779327 (TheseHammers dont hurt us. MichaelRobinson, 2010)
http://youtu.be/HwcF6ea2PMQ (MightyBoosh)
http://youtu.be/KER_IcHQYcA(Melancholia)
http://vimeo.com/21779327http://youtu.be/HwcF6ea2PMQhttp://youtu.be/KER_IcHQYcAhttp://youtu.be/KER_IcHQYcAhttp://youtu.be/HwcF6ea2PMQhttp://vimeo.com/217793277/31/2019 Avant Garde Film
15/15
http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&
q&f=false
http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0http://books.google.co.uk/books?id=0vgAWhasEncC&printsec=frontcover&source=gbs_ge_summary_r&cad=0