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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 avant-gardists undertook an assault against such art precisely because they saw it as an institution set off from the praxis of life (86, 83).
Another avant-gardist to reach prominence as a transmitter of Chinese poetry in English was Kenneth Rexroth, for whom parataxis was also paramount in suggesting a fundamental relation between things, as in this translation of Du Fu [TEXT NOT REPRODUCIBLE IN ASCII.
Perloff's Unoriginal Genius in its conceptualist and avant-gardist vein is a crusade against such tendency in contemporary poetics.
He believes such abjection to be the road back to the real, and when Rodefer spits at the avant-gardist in "Titular," the impinger he yearns to see erased is the poet Rodefer, that bantam cock, that parrot, that cuckoo.
At the same time, it serves its purpose of showing the city in its best light--the harbor views available from every venue are no coincidence--flattering it with the suggestion that it might be avant-gardist to boot.
The first of these, by Martin Puchner (translated, it should be noted, into French), concentrates on the controversial figure of Wyndham Lewis, and describes how the founder of Blast and Vorticism can best be described as a reactionary avant-gardist, whose political beliefs were often in contradiction with his aesthetics, and whose attacks on other, non-English manifestations of Modernism, notably Marinetti's Futurism, became increasingly vicious.
The contemporary avant-gardist Kabakov, in contrast to the two deceased realists, travels only within his imagination: adding unreality to unreality, in 1985 he presented an escapist fantasy to an imprisoned society.
The film extends that aesthetic to the labour of filmmaking itself, in its artfully constructed and rhymed images, in the sheer difficulty of capturing this material teetering on the edge of the volcano or trudging through the blood and guts, in a superb musical score by the jazz avant-gardist John Zorn, modulated with sounds of the nations visited.
1) In this way, intention and method, as Said has elaborated on them with respect to the modern intellectual, explain the activity and attitude of the avant-gardist despite the anti-intellectual veneer of his or her more outrageous gestures.
One questionable effect of Perloff's bringing modernist experimentation into the neighborhood of more recent avant-garde poetry is to foster the impression of a timeless set of poetic methods for foregrounding language and artifice, methods whose presence or absence in the work of individual poets then can be ascertained by the avant-gardist critic.
The debate that animated the pages of Il menabo prompted the editors of Il Verri to organize a gathering in Palermo from which would emerge a full-blown discussion of the most important issues associated with the neoavanguardia, now solidified in Gruppo '63: linguistic experimentation and socio-political commitment, autonomy and heteronomy of art in late-capitalism, the role of the reader, the effective possibilities of the avant-gardist project, and so on.