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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 ?
My understanding of the avant-garde draws from Peter Burger's theorization of the term and from Paul Mann's arguments about the importance of discursive intervention on the avant-garde.
Both definitions - the vapid menace of the first and the empty promise of the second - have been integral to defining the thresholds of avant-garde and modernist culture since Baudelaire, as is well known.
In proposing to correct Burger's dismissal of the neo-avant-garde, Foster implicitly accepts that definition of the historical avant-garde on which Burger's account is itself based: one in which it is the Duchampian readymade, rather than, say, Picasso's Cubism, that furnishes the "primary device.
But beside the experience of looking at the exhibition arises the issue of its claims: to what extent does Clair succeed in addressing the condition of the avant-garde at the end of the century, and to what extent does he manage to refute the avant-garde's regulative idea?
As if the size, weight, and design of the catalogue had not already signified sufficiently, Celant's preface explicitly positions "The Italian Metamorphosis" as a successor to the Guggenheim's recent grand project "The Great Utopia," an attempt at a comprehensive history of the Russian and Soviet avant-gardes.
The sentimentalization and cultification of youth, the belief that art renews both life and itself by becoming avant-garde (for to be avant-garde is perpetually to make new beginnings, new "advances"), indeed the belief that the avant-garde is a fountain of artistic youth that can never run dry--all these ideas mask a less benign truth: avant-garde art today looks like a case of arrested development, of petrified youthfulness.
The book's final chapters take up the larger question of whether contemporary avant-gardes exist at all.
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 [.
The purpose of this essay is to identify and analyze the mostly unexamined inter-discursivities between the work of Edward Said and that of the Avant-garde in its various artistic, literary, and critical manifestations.
Grunfeld has braved a forbidding task, given the amount of material available concerning both Spanish American avant-gardes and Brazilian modernismo.
the avant-garde, modernism, and the fate of a continent.
If this rhetoric now sounds familiar, it is not only because it bespeaks a pop appropriation of avant-garde attitudes but because we have heard the same sentiments expressed by the first wave of punk in the mid-to late '70s, and then repeated by the gru As a matter of fact, it is largely thanks to Thurston Moore of Sonic Youth, a band that managed to span those musical moments with great critical success and little loss of credibility, that DAM's early output would ever find its way into the commercial sphere.