Avant-garde

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.)
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Although Monet's works made after the mid 1880s, when more controversial avantgarde art had moved away from Impressionism, were praised extravagantly by critics and avidly sought after by turn-of-the century collectors, they have not been included in the standard history of 20th-century art, which traces a rapid succession of breakthrough modes.
The people who wanted sea horses and dolphins were angry, boosters of avantgarde art were red in the face, and those who didn't believe in public funding of art at all were foaming at the mouth.
In both cases he locates the central actor in the Impressionist dramas in a newly emerging social group, the petite bourgeoisie of white-collar workers and professionals, whose special importance for the avantgarde art of the late nineteenth century was their ability to serve as alter egos for the artists themselves.