Conclusion

2020 ◽  
pp. 522-538
Author(s):  
Jonathan Walley
Keyword(s):  
Avant Garde ◽  
Medium Specificity ◽  
Expanded Cinema ◽  
The Aesthetic ◽  
Experimental Films

The conclusion argues that while expanded cinema might seem radically opposed to conventional, popular, and mainstream cinema, it nonetheless attempts to articulate and specify the aesthetic qualities that define all cinema. This parallels a trait of conventionally made avant-garde/experimental films; the assertion of cinema’s nature and essences, which constitute all forms of cinema regardless of how different one kind of film appears from another. The conclusion also draws upon the notions of the “essentially cinematic” explored across the book to counter theoretical arguments against such specificity positions (e.g. medium specificity) that have been advanced by critics and scholars in the worlds of cinema and art. The conclusion argues that these anti-specificity positions are overly simplistic, and that expanded cinema represents a more nuanced and sophisticated notion of what a medium specific theory—or work of cinema—can be.

Visual Music after Cage: Robert Breer, expanded cinema and Stockhausen's Originals (1964)

2012 ◽  
Vol 17 (2) ◽  
pp. 163-169
Author(s):  
Andrew V. Uroskie
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
New Materials ◽  
Avant Garde ◽  
Visual Music ◽  
Expanded Cinema ◽  
New Vision ◽  
The Aesthetic

Within William Seitz's 1961 exhibition The Art of Assemblage for the New York Museum of Modern Art, the question of framing – of art's exhibitionary situation within and against a given environment – had emerged as perhaps the major issue of postwar avant-garde practice. Beyond the familiar paintings of Johns and Rauschenberg, a strategy of radical juxtaposition in this time extended well beyond the use of new materials, to the very institutions of aesthetic exhibition and spectatorship. Perhaps the most significant example of this disciplinary juxtaposition can be found in the intermingling of the static and the temporal arts. Like many artists of the twentieth century, Robert Breer was fascinated by the aesthetic and philosophical character of movement. Trained as a painter, he turned to cinematic animation as a way of extending his inquiry into modernist abstraction. While the success of his initial Form Phases spurred what would be a lifelong commitment to film, Breer quickly grew frustrated with the kind of abstract animation that might be said to characterise the dominant tradition of visual music. Starting in 1955, his Image by Images inaugurated a radical new vision of hyperkinetic montage that would paradoxically function at the threshold of movement and stasis. As such, Breer's film ‘accompaniment’ to the 1964 production of Stockhausen's Originals has a curious status. While untethered from the musical performance, Breer's three-part ‘film performance’ extended Stockhausen's aesthetic and conceptual framework in rich and surprising ways. It might thus be understood as a ‘post-Cagean’ form of visual music, one in which the sonic and visual components function in a relation of autonomous complementarity within an overarching intermedia assemblage.

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.

Theoretical Problems of Soviet Underground Culture

2021 ◽  
Author(s):  
Mark Lipovetsky ◽  
Tomáš Glanc ◽  
Maria Engström ◽  
Ilja Kukuj ◽  
Klavdia Smola
Keyword(s):  
Communicative Practices ◽  
Avant Garde ◽  
Central Focus ◽  
Cultural Phenomenon ◽  
Relational Art ◽  
Theoretical Hypothesis ◽  
Historical Specificity ◽  
The Aesthetic

This article presents a spectrum of theoretical problems associated with the Soviet artistic underground as a historical and cultural phenomenon. The central focus is on constellating issues of terminology and definition around the borders of underground culture in the USSR, within scholarship about it. As a theoretical hypothesis of the handbook, the chapter introduces the concept of the lifeworld, which the volume editors and contributors interpret as a synthetic multimedia nexus of a given nonconformist circle’s activities, both artistic and cultural. The underground lifeworld manifests the aesthetic discourse idiosyncratic for each artistic circle and serves as the source of semi-spontaneous “relational art” that absorbs and generates artworks, along with performative and communicative practices. Through the concept of the aestheticized lifeworld, the authors of this article define the historical specificity of the Soviet artistic underground in relation to the Russian historical avant-garde and Western neo-avant-garde.

Introduction

2019 ◽  
pp. 1-11
Author(s):  
Marion Schmid
Keyword(s):  
Twentieth Century ◽  
Film History ◽  
Discursive Construction ◽  
New Wave ◽  
Avant Garde ◽  
Medium Specificity ◽  
French New Wave ◽  
Ambivalent Relationship ◽  
Struggle For Recognition ◽  
Purity And Impurity

The introduction contextualises the French New Wave's ambivalent relationship to the older arts with regard to cinema's wider struggle for recognition in the course of the twentieth century. Surveying the debates around medium specificity, cinematic 'purity' and 'impurity' from the classical avant-garde to the Nouvelle Vague, it addresses the French New Wave's complex discursive construction in relation to the more established arts. Reframing traditional studies of the French New Wave, it argues for an intermedial approach to illuminate this seminal movement of film history. The corpus, rationale and approach of the book are also introduced and clarified.

Kinugasa, Teinosuke (1896–1982)

2018 ◽  
Author(s):  
Kendall Heitzman
Keyword(s):  
Foreign Language ◽  
Film History ◽  
Film Festival ◽  
Financial Success ◽  
Avant Garde ◽  
Film Studios ◽  
Female Roles ◽  
Kawabata Yasunari ◽  
The 1950S ◽  
Experimental Films

Kinugasa Teinosuke (1 January 1896–26 February 1982) was a Japanese actor and film director, most famous for his experimental films of the 1920s and art-house classics of the 1950s. He started as a specialist in oyama female roles, a tradition carried over from Japanese theater to film, and turned to directing as the convention faded in the 1910s and 1920s. After directing films for the major film studios Nikkatsu and Makino, Kinugasa went independent in 1926 with the New Impressionist Film League, his collaboration with members of the New Impressionist School of modernist writers led by Yokomitsu Riichi and Kawabata Yasunari. Kinugasa produced his most famous film, the experimental, avant-garde Kurutta ichipeiji [A Page of Madness] (1926), from a script by Kawabata and others. Despite its secure location in global film history, A Page of Madness was not a financial success, and Kinugasa began working for Shōchiku, at first producing noteworthy films such as Jujiro [Crossroads] (1928) that, while experimental in nature, never again rose to the same level of high-modernist abstraction. Kinugasa had a long career at Shōchiku and then Daiei as a director of period dramas. His films Yukinojo henge [An Actor’s Revenge] (1935) and Jigokumon [Gate of Hell] (1953)—both starring Kinugasa’s frequent collaborator, Hasegawa Kazuo—are representative of his middle and late career. Gate of Hell won a Palme d’Or at the Cannes International Film Festival and received an Academy Honorary Award, the precursor category to Best Foreign Language Film.

Secessionist Movement

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Fine Art ◽  
Art Nouveau ◽  
Avant Garde ◽  
The Status ◽  
The Aesthetic ◽  
Secessionist Movement ◽  
Applied Arts ◽  
Modern Movement

The Secessionist Movement is the name applied to a range of artistic splinter groups that began to emerge in the 1890s. Objecting to what they saw as the inherent conservatism of established academies, these groups ‘seceded’ or broke away from their parent institutions and launched their own, avant-garde approach. The first secessionist group appeared in Munich in 1892 under the leadership of Franz von Stuck and Wilhelm Trübner. Among the most influential secessionist groups was that founded in Vienna by a coalition of artists, architects and designers who resigned from the Association of Austrian Artists in 1897. United by the urge to elevate the applied arts to the status of fine art, members of the Vienna Secession produced exquisite work across a spectrum of creative disciplines. The aesthetic initially resembled the curvilinear Art Nouveau style, but it increasingly moved towards abstraction and geometric simplicity. The founding of the Vienna Secession thus marked the beginning of a new artistic era in Austria and heralded the birth of the Modern Movement.

Anemic Cinema (1926)

2018 ◽  
Author(s):  
Ryan Robert Mitchell
Keyword(s):  
Experimental Film ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Experimental Films

Considered one of the important experimental films of the prewar European avant-garde, Anemic Cinema (1926) is a short experimental film by Marcel Duchamp, who authored the film under his pseudonym Rrose Sélavy.

Widersprüchliche Optionen: Stationen der Künste 1913

2013 ◽  
Vol 38 (1) ◽  
Author(s):  
Christoph Asendorf
Keyword(s):  
Avant Garde ◽  
The Rich ◽  
The Aesthetic

AbstractApart from their rather coincidental origin year, 1913, there is no apparent connection between a monument like the “Völkerschlachtdenkmal” in Leipzig (“Monument to the Battle of the Nations”) and the aesthetic manifestations of the avant-garde. These artistic expressions oscillate between opposite poles: weakness and desire for stability, refinement and primitivism, immanence and transcendence. It might be assumed that precisely these contradictory impulses lie at the heart of the rich and widely influential artistic outcome of this pre-war year.

Sign in / Sign up

Export Citation Format

Share Document