Avant-garde


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Avant-garde

 

a trend in French cinema originating in 1918.

To counterbalance commercial cinema, such directors as A. Ganse, G. Dulac, M. L’Herbeir, and G. Epstain, headed by L. Deluc, tried to assert the principles of high cinematic art, devoting much attention to attempts at original means of expression; they called for the disclosure of the essence of the subject through extensive use of rhythmical montage techniques, foreshortening, unfocused filming, and so on. These attempts ultimately underwent a significant evolution.

From the early 1920’s formalistic tendencies, the influence of such artistic trends as dadaism and surrealism, and an orientation toward the tastes of narrow circles of the refined bourgeois intelligentsia were expressed in the work of the avant-gardists. These very tendencies received the greatest dissemination and the most brilliant expression in France and other countries. The early works of R. Clair, J. Renoir, L. Grémillon, J. Vigo, L. Buñuel, and others have avant-garde ties. During the 1930’s a number of directors of the avant-garde moved toward realistic art.

REFERENCE

Sadul’, Zh. Istoriia kinoiskusstva ot ego zarozhdeniia do nashikh dnei. Moscow, 1957. (Translated from French.)
References in periodicals archive ?
He fulfilled the programme of the avant-garde most notable in the orchestral movements Half-time (1924) and Labagarre (1926), and then Jazz Suite for 11 instruments (1928), Sextet for flute, oboe, clarinet, two bassoons and piano (1929), and also in the Double Concerto for two string orchestras, piano and kettle drums (1938), in the ballet La revue de cuisine (1927) and in exemplary form in the operas Julietta aneb snar / Julietta or Dream Book (1937), Les larmes du couteau (1928), the radio opera Hlaslesa /Voice of the Forest (1935), and the sung ballet Spalicek /The Chap Book (1932).
Here, Novero's discussion of the interplay of artistic technique and the mutability of the finished product demonstrates the unique capacity of the culinary to capture the intangible idea of deterioration, a central trope of Avant-Garde art.
Early in his book, Skoller argues that while many mainstream films, like Roman Polanski's The Pianist, firmly situate their films in the past, many avant-garde films do not offer this kind of historical consolation and instead raise questions about the importance of historical events for the present.
With this exhibition, Vilnius has taken another very important step towards becoming the world's new capital of the avant-garde and Fluxus in the 21st Century", stated Arturas Zuokas, the Chairman of the Board of the Jonas Mekas Visual Arts Center.
At first, Debord's analysis of the failure of the interwar avant-garde is outlined, followed by a presentation of the theory of the spectacle.
Burger identifies three areas that generally characterize autonomous art--purpose, production, and reception--and explains how the avant-garde sought to challenge them (50).
Warden is acutely aware from the outset that the concept of "British avant-garde theatre" is not one that offers either a homogeneous model, or even discrete and defined--if only in manifesto form--groupings.
By using polyscreen installations made with the help of the most up-to-date projection, light and sound equipment, they want to show new aspects in the paintings and sculptures and immerse the viewer into the era of Russian avant-garde.
Bohn starts The Avant-garde Imperative with a short theoretical definition of the avant-garde movement and a critical commentary on Peter Burger's idea of the avant-garde as "an attack on the status of art in the bourgeois society" (49).
To do so he critiques at length not only Burger, in whom he rightly detects an anti-theatrical streak, but also the entire "Eulogist School of Avant-Garde Studies" (51), among whose members he counts Richard Schechner and David Savran.
The European Network for Avant-garde and Modernism Studies (EAM) came into being in 2006, setting for itself the goal of studying "the avant-garde and modernism in Europe within a global setting, throughout the nineteenth and twentieth centuries"; promoting "interdisciplinary and intermedial research on experimental aesthetics and poetics"; and encouraging "an interest in the cultural dimensions and contexts of the avant-garde and modernism.
From here he embarked on series of films about the Russian Avant-garde of the 1920s and 30s: