The Two Expanded Cinemas

2020 ◽  
pp. 41-99
Author(s):  
Jonathan Walley
Keyword(s):  
Perceived Threat ◽  
Traditional Art ◽  
Avant Garde ◽  
Art Form ◽  
Wide Range ◽  
Expanded Cinema ◽  
Key Factor ◽  
History Of ◽  
Two Phases

This chapter, one of two that make up Part I of the book, provides a revised history of expanded cinema from the mid-1960s to the late 1970s. It divides this period into two phases or waves of expanded cinema. During the first phase, the term was more or less synonymous with “intermedia,” connoting hybridity, the dissolution of artistic boundaries, and the questioning of traditional art forms. But the liberatory rhetoric of this phase was countered by concerns that the expansion of cinema threatened to dilute and destabilize the art form that generations of filmmakers and film critics had worked to establish. It was within avant-garde film that the perceived threat to cinema’s identity caused the most anxiety, as that mode of film practice had always been the most preoccupied with the nature of cinema. Within a few years, the term “expanded cinema” was reclaimed by filmmakers whose work extended avant-garde cinema’s longstanding tradition of specifying the cinematic into a wide range of new, “expanded” forms. This phase of expanded cinema lasted through the 1970s into the first few years of the 1980s. Chapter 1 also introduces two other major themes: a historical process of negotiation between cinema’s specificity and its connections to the other arts, which works of expanded cinema enact, and the interplay between two conceptions of cinema—as a physical material and an ephemeral experience. This reciprocal movement between the material and ephemeral is a key factor in expanded cinema’s formal mutability.

Cut and paste

2018 ◽  
pp. 25-65
Author(s):  
Anna Dahlgren
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Historical Perspective ◽  
Avant Garde ◽  
Victorian Britain ◽  
Art Form ◽  
Close Study ◽  
History Of ◽  
Illustrated Press

Chapter 1 considers the mechanisms of breaks and continuities in the history of photocollage with regard to gender, genre and locations of display. Collage is commonly celebrated as a twentieth-century art form invented by Dada artists in the 1910s. Yet there was already a vibrant culture of making photocollages in Victorian Britain. From an art historical perspective this can be interpreted as an expression of typical modernist amnesia. The default stance of the early twentieth century’s avant-garde was to be radically, ground-breakingly new and different from any historical precursors. However, there is, when turning to the illustrated press, also a trajectory of continuity and withholding of traditions in the history of photocollage. This chapter has two parts. The first includes a critical investigation of the writings on the history of photocollage between the 1970s and 2010s, focusing on the arguments and rationales of forgetting and retrieving those nineteenth-century forerunners. It includes examples of amnesia and recognition and revaluation. The second is a close study of a number of images that appear in Victorian albums produced between 1870 and 1900 and their contemporary counterparts in the visual culture of illustrated journals and books.

scholarly journals Kazimir Malevich in Avant-Garde Discussions in 1928–1930

2021 ◽  
Vol 13 (2) ◽  
pp. 36-41
Author(s):  
Oksana Salata
Keyword(s):  
Modern Art ◽  
Scientific Research ◽  
Scientific Controversy ◽  
Traditional Art ◽  
Avant Garde ◽  
New Approaches ◽  
Art Form ◽  
History Of Art ◽  
History Of ◽  
Traditional Approaches

The article is devoted to the figure of Kazimir Malevich as an artist and art critic, who introduced new tendencies and approaches to the depiction of objects into traditional art; representation of the artist in avant-garde discussions in the period of his teaching at the Kyiv Art Institute in 1928–1930; searches and experiments of the artist, which were closely connected with the feeling of modernity and new impulses in culture. Malevich’s activity on creation of a unique history of art of Modernism is revealed. It is shown that the scientific controversy between artists over traditional approaches and pictorial methods acted as a catalyst for the development of a new direction in modern art. Discussions between Kazimir Malevich and Mykhailo Boichuk became fundamental for an artistic discussion which continues among contemporary artists and art critics. The artist based his work on objectlessness, which became a method of interpreting art. In this way, he shifted the emphasis from defining the content to defining the form, the very essence of art. Being a theorist, Kazimir Malevich discovered the patterns of development of art form, explaining the importance and sequence of emergence of each new direction: Suprematism, Cubism, Cubofuturism. Artistic discussions with contemporaries were of great importance. Malevich’s ideas continued to spread thanks to students and like-minded people who developed them and developed new approaches to painting techniques. The experience embodied by the artist at the Kyiv Art Institute showed the peculiarity of the artistic space that was formed in Kyiv in the late 1920s. Kazimir Malevich’s ideas are a promising scientific research for both historians and art historians as they show new facets of the avant-garde style.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

S. YAKOVENKO AND HIS SKILLS IN THE CONTEXT OF THE INTERPETATION OF Y. BOUTSKO’S MONO-OPERA "DIARY OF A MADMAN"

2020 ◽  
Vol 1 (2) ◽  
pp. 140-145
Author(s):  
O. A. Podguzova ◽  
Keyword(s):  
Art History ◽  
Xxth Century ◽  
Avant Garde ◽  
Great Demand ◽  
Video Recordings ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
Vocal Art

Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.

Protecting Urban Greenery: The Case of Stockholm's National City Park

2014 ◽  
Vol 13 (4) ◽  
pp. 360-380 ◽  
Author(s):  
Yiva Uggla
Keyword(s):  
Cultural Heritage ◽  
Urban Development ◽  
Narrative Analysis ◽  
Urban Greenery ◽  
Key Factor ◽  
History Of ◽  
Two Phases ◽  
City Park

This paper analyzes two phases of the history of the National City Park in Stockholm: the process preceding formal park establishment and the ongoing place construction following park establishment. With thematic narrative analysis, I show that constructing the National City Park as a “place” relied on considerable abstraction. Similarly, the construction of the park's uniformity relied on an organizing principle that eliminated many entities and activities from the narrative of the place. This case study also demonstrates that “nature” might need allies in the endeavor to protect urban greenery. The framing of the narrative in historical and cultural heritage terms was a key factor in the effort to protect the National City Park from urban development.

scholarly journals How Style Became Famous and Irrelevant at the Same Time

2015 ◽  
Vol 9 (2) ◽  
pp. 215-230
Author(s):  
Nataša Lah
Keyword(s):  
Cultural Context ◽  
18Th Century ◽  
Theoretical Issue ◽  
Avant Garde ◽  
Late 18Th Century ◽  
Wide Range ◽  
The Status ◽  
History Of ◽  
The 19Th Century ◽  
19Th Century Art

The article is concerned with the theoretical issue of the status of style in visual arts, aiming to demonstrate that – within art history – stylistics acquired its disciplinary autonomy in the late 18th century when, J. J. Winckelmann was the first to detach stylistics from rhetoric, thus expanding the field of stylistic competence to the history of art. It was also the time when, under the influence of early Romanticism, the entirely opposite tendencies originated, those of the emphasized individuation of art. Therefore, parallel to the birth of theoretical notion of “the styles of the eras”, romanticists not only paved the way for Modernism, but also thwarted the application of a newly risen stylistic methodology concerned with the cultural codification of style. The disagreement between the “classicists”, and “romanticists”, eventually culminated in the schism of the Paris Salon and the emergence of a wide range of new trends, heterogeneous conceptions and avant-garde movement, all in a very short space of time. The concept of “the style of epoch” has been staggered by the challenges of the 20th century. The function of culture within the stylistic characteristics of the 19th century art production was appropriated by artists, whose artwork acquired total objectual autonomy. The cultural and stylistic codification of of historical periods conceived in the 18th century could no longer be applied to the heterogeneous art produced during the Modernist era. By affirming the obviousness of the visual, Modernism eluded all the semantic, functional, utilitarian, narrative and symbolic burdens of earlier periods. This article endeavours to show how, subsequent to the epoch of Modernism, style can be discussed exclusively at a level of the apparent expressed features of an artwork. Codification which follows the principle of temporal “anchoring” in the cultural context of the Modernits era of Modernism remains both risky and ineffective stylistic strategy.  

Cinema as Idea

2020 ◽  
pp. 439-521
Author(s):  
Jonathan Walley
Keyword(s):  
Conceptual Art ◽  
Delayed Response ◽  
Experimental Film ◽  
Art World ◽  
Avant Garde ◽  
Prior Art ◽  
Expanded Cinema ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S

Chapter 6 considers works of expanded cinema that could be called “conceptual cinema.” “Conceptual,” here, refers to the belief that cinema among many avant-garde/experimental filmmakers and critics that cinema was ultimately a conceptual phenomenon, even when it took forms that seemed decidedly material. The term, or variants of it, was used in the 1960s and 1970s, often to refer to “imaginary” films, films planned or written but purposely never executed, and unprojected or unprojectable films. There are parallels between such conceptual cinematic works and conceptual art. In both cases, concepts, intentions, imagination, and discourse are taken to be as constitutive as art works as materials and physical processes. The objects of the film medium were, and continue to be, de-centered in favor of these less tangible, conceptual, or discursive dimensions of cinematic practice. While conceptual art will be a point of reference, chapter 6 will also show that a concept-based ontology of cinema emerged organically from within the history of avant-garde/experimental film. That is, it should not be thought of simply as a delayed response by filmmakers to prior art world developments, as if playing catch-up with their fellow artists.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

Cinema as Performance

2020 ◽  
pp. 157-253
Author(s):  
Jonathan Walley
Keyword(s):  
Intimate Relationship ◽  
Live Performance ◽  
Site Specific ◽  
Avant Garde ◽  
Moving Images ◽  
Art Form ◽  
Expanded Cinema ◽  
Art Forms ◽  
The Moment

Chapter 3 is the first of four chapters that make up Part II of Cinema Expanded. This part of the book considers different general modes that expanded cinema has taken, each mode representing aesthetic territory and ideas usually associated with a different art form (e.g. performance or sculpture). Chapter 3 considers a variant of expanded cinema that integrates live performance into projection of moving images, usually called “projection performance” or “projector performance.” In this type of expanded work, the tactility of both filmstrip and projector are on display, as is the performer (typically the filmmaker—the representative of avant-garde cinema’s more intimate relationship between artist and audience). But alongside these markers of cinema’s physicality and presence is the ephemerality of live performance. Non-repeatable, site-specific, aleatory instead of mechanistically automatic, projection performance is centered upon the moment when the material of film is transformed into the far less tactile play of light, shadow, and illusion, and when objects give way to processes and experiences. The integration of performance into cinema was initially understood as a blurring of art forms. But the intermedia film-theater hybrids of the first wave of expanded cinema gave way to subsequent projection performances that claimed a performative dimension for cinema itself, rather than thinking of it as an alien form grafted onto film in a new intermedia format.

Sign in / Sign up

Export Citation Format

Share Document