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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.


Sadul’, Zh. Istoriia kinoiskusstva ot ego zarozhdeniia do nashikh dnei. Moscow, 1957. (Translated from French.)
References in periodicals archive ?
The spread of Futurism in Spain would have far-reaching effects, influencing Rafael Cansinos Assens (who would himself later publish poetry in Prometeo's pages) to found Spain's first avant-garde movement, Ultraismo.
Critique: Impressively informed and informative, exceptionally well researched, written, organized and presented, "The Avant-garde Won't Give Up: Cobra and Its Legacy" is a unique and highly recommended for personal, professional, community, and academic library collections.
While Mann would agree with Burger that the historical avant-gardes ultimately became institutionalized through the movement's commodification, he also argues that the importance of the avant-garde is not so much its oppositional stance but its potential for discursive intervention: "the death of the avant-garde is one means by which this economy [of discourse] endures.
Excluding what Bohn calls a "partially recognizable neo-dada" surrealism, the last avant-garde movement still active, ended in 1966 with the death of Breton.
Dada is not the only avant-garde in which Harding detects illiberal, or at least non-progressive, impulses.
Concerning the space extended to the margins of Europe, perhaps the most remarkable aspect of the anthology is the generous representation in it of Central European scholarship on avant-garde arts and letters.
If every avant-garde is more than the sum of its disciplinary parts, then Antidiets is certainly successful in capturing both the avant-garde's interdiscipliarity and its multimediality; while following its guiding gastronomic star, Antidiets weaves together the literary, the painterly, the performative and the theoretical into its "gastrosophic" narrative.
In the most famous Czech modern lexicon, Otto's Encyclopaedic Dictionary, the entry "avantgarda" dates to the 1930 edition, in which its author speaks of the artistic avant-garde as progressive art and states that "the avant-garde in literature, theatre and cinematography is an expression denoting an energetic, pioneering movement in a particular field of the arts [.
Other scholars have made the argument about the avant-garde as a community, but Yu provides the genuinely distinctive insight that race came to inform that community formation even among European American avant-gardists.
Here Novero devotes relatively more discussion of the surrounding political events of the period, which serves to anchor the proceeding sub-movements of the Avant-Garde in space and time.
One might ask, considering this necessarily brief summary, how do the above elements constitute postmodernist expression in contrast to avant-garde expression?
FANTASY and avant-garde were the keywords when Kirklees College hairdressing students let their imaginations run riot.