scholarly journals Korean Appropriation of Avant-garde Art (1) - Jean Cocteau and Yi Sang

2014 ◽  
Vol 71 (3) ◽  
pp. 77-115
Author(s):  
송민호
Keyword(s):  
Jean Cocteau ◽  
Avant Garde

Parade

2018 ◽  
Author(s):  
Juliet Bellow
Keyword(s):  
Popular Culture ◽  
Pablo Picasso ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Production Team ◽  
Ballets Russes ◽  
Cabaret Songs ◽  
Erik Satie ◽  
One Act

A one-act ballet on the theme of a fairground sideshow, Parade was produced by Serge Diaghilev’s Ballets Russes, and premiered on May 18, 1917 at the Théâtre du Châtelet in Paris. According to Jean Cocteau, the poet who wrote the ballet’s libretto, the impetus for Parade originated in 1912 with Diaghilev’s command, ‘‘Astonish me!’’ To fulfill Diaghilev’s mandate, Cocteau assembled a production team drawn from the Parisian avant-garde: for the score, he recruited the composer Erik Satie, known for experimental piano compositions such as Gymnopédies (1888) and for cabaret songs performed at the Montmartre cabaret Le Chat Noir. In 1916, Cocteau secured the participation of Pablo Picasso, a painter associated with the Cubist movement of the early 1910s, to design the overture curtain, set, and costumes. Working with the choreographer Léonide Massine, this group produced a ballet-pantomime featuring familiar characters from the circus, variety shows, and cinema. Mixing various forms of art and entertainment, Parade used dance to explore the unstable relationship between elite and popular culture.

Surrealist Sounds

2018 ◽  
Author(s):  
Hannah Lewis
Keyword(s):  
Jean Cocteau ◽  
Luis Bunuel ◽  
Avant Garde ◽  
Institutional Structures ◽  
Musical Practices

This chapter focuses on the controversial early sound films directed by avant-garde filmmakers Jean Cocteau and Luis Buñuel: Le Sang d’un poète (1930) by Cocteau and L’Age d’or (1930) by Buñuel. They were the first surrealist sound films, and both filmmakers used music to create strange audiovisual juxtapositions and to shock their audiences. Although music’s role in the surrealist movement was contested, Lewis demonstrates through her analysis of these two films that music was crucial for a surrealist audiovisual cinematic conception. While experiments this audacious were short-lived, these two films offer a glimpse into a style of audiovisual filmmaking that was most closely aligned with modernist musical practices of the 1920s, in terms of the participants involved, their aesthetic priorities, and the institutional structures in which they were funded and supported.

Post-War and Post-Apollinaire

Georges Auric ◽  
2020 ◽  
pp. 43-62
Author(s):  
Colin Roust
Keyword(s):  
World War I ◽  
Art Music ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Louis Aragon ◽  
Tristan Tzara ◽  
Philippe Soupault ◽  
Les Six ◽  
Post War ◽  
The One

After World War I, Auric’s many friendships placed him in a unique position in the Parisian avant-garde. On the one hand, he was alongside Louis Aragon, André Breton, Philippe Soupault, and Tristan Tzara for the rise and fall of Paris dada. On the other, he was a member of Les Six, the group of composers led by Jean Cocteau who came to represent Parisian art music in the 1920s. Throughout the feuds between the dadaists and Cocteau, Auric preserved his friendships and functioned as an ambassador of sorts between rival avant-garde groups. In the meantime, his scores for Cocteau’s Les mariés de la Tour Eiffel (with the rest of Les Six) and Molière’s Les fâcheux would lead to bigger and better opportunities in the mid-1920s.

Klaxon (São Paulo, 1922–1923)

2018 ◽  
Author(s):  
Sarah Ann Wells
Keyword(s):  
Sao Paulo ◽  
São Paulo ◽  
Monthly Basis ◽  
Jean Cocteau ◽  
Mario De Andrade ◽  
Charlie Chaplin ◽  
Avant Garde ◽  
Guillaume Apollinaire ◽  
The Impact ◽  
Guillermo De Torre

Klaxon (São Paulo, 1922–1923) was the first and most important of Brazil’s avant-garde artistic journals. It comprised a total of nine issues, published on a monthly basis, which included an eclectic mix of poems, short stories, essays, visual art, fragments of novels, reviews and commentaries on music and theater. In its third issue, Klaxon incorporated film criticism in Brazil (No. 3, p. 11). The journal’s collective nature was emphasized both through the content of its pages and its masthead. Key contributors included the writers Sérgio Milliet, Menotti Del Picchia, Guilherme de Almeida, and Oswald de Andrade, but it was the impact of the "pope" of Brazilian modernism, Mário de Andrade, that cemented Klaxon’s influence in Brazil. Anchored in São Paulo, Brazil’s largest and most industrialized city, Klaxon was read selectively throughout the country and in small foreign circles of Europe and Latin America; within five years of its publication, similar modernist journals had emerged in even the most peripheral regions of Brazil. Furthering this cosmopolitan orientation, Klaxon incorporated articles and images from Brazil’s burgeoning avant-garde scene as well as from France, Japan, Belgium, and Spain, and published selected works in French. Henri Bergson, Jean Epstein, Igor Stravinsky, Pablo Picasso, Jean Cocteau, Charlie Chaplin, Guillermo de Torre, and Guillaume Apollinaire were among the figures of international modernism to appear in its pages.

Fireworks (1947)

2018 ◽  
Author(s):  
Fouad Oveisy
Keyword(s):  
Middle Finger ◽  
Short Film ◽  
Christmas Tree ◽  
The Unconscious ◽  
Visual Storytelling ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Thematic Unity ◽  
Mise En Scene ◽  
Missing Middle

Fireworks, Kenneth Anger’s breakthrough short film brought him immediate renown, and acclaim from the likes of Jean Cocteau, upon its debut at the 1949 Festival du Film Maudit (Hutchison, 2004: 27). Inspired by the baroque approach to imagery and mise en scène that dominates Cocteau’s Le Sang d’un poète [The Blood of a Poet] (1930), and exploring the trance-like machinations of the unconscious and dreams found in the cinema of Maya Deren, this film cemented Anger’s reputation as a pioneer of the ‘postwar American avant-garde cinema’ (Meir, 2003). Homoeroticism, a growing disenchantment with violence, and the monolithic rememoration of figures of fascination and authority, are among the major themes explored in Fireworks. To speak of an underlying thematic unity is to reduce the film’s stylistic and philosophical multiplicity; nevertheless, a number of key motifs predominate in the narrative and visual storytelling. For example, while the morphing matrices of phallic symbols (a totem, a missing middle finger) and icons of American power and consumerism (navy soldiers, a Christmas tree) hint at an overt use of symbolism, the suspended gaze of the camera emphasizes Anger’s own articulation of the work as the release of ‘all the explosive pyrotechnics of a dream’ (Fireworks). After its public release, homophobic outrage against the perceived pornographic content of the film led to an obscenity trial; in the end, the California Supreme Court declared that Fireworks was art (Hattenstone, 2010).

Börlin, Jean (1893–1930)

2018 ◽  
Author(s):  
Charles R. Batson
Keyword(s):  
Performing Arts ◽  
The United States ◽  
Darius Milhaud ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Visual And Performing Arts ◽  
Dance Theater ◽  
Ballets Russes ◽  
Fernand Leger ◽  
The Face

As principal choreographer and dancer for the 1920s avant-garde troupe Les Ballets Suédois (Swedish Ballet), Jean Börlin contributed greatly to the modernist cauldron that was interwar Paris. Founded by the wealthy Swedish arts patron Rolf de Maré in 1920, the Ballets Suédois expanded upon the model of avant-garde collaborative dance theater established by Serge Diaghilev’s Ballets Russes a decade earlier. In the five years until their disbanding in 1925, the Swedes rivaled the better-known Russian company for artistic creativity with such signal works as the 1921 Les Mariés de la Tour Eiffel (The Newlyweds of the Eiffel Tower), the 1923 La Création du monde (The Creation of the World), and the 1924 Relâche (Theatre Closed). With twenty-three original choreographies, some 900 performances, and international tours throughout Europe and the United States, Börlin and his company played a significant role in the development and propagation of innovative modernist work, which grew from the interplay among the visual and performing arts. In collaboration with such artists as Jean Cocteau, Darius Milhaud, and Fernand Léger, Börlin helped change the face and forms of dance theater.

Satie, Erik Alfred Leslie (1866–1925)

2018 ◽  
Author(s):  
Samuel N. Dorf
Keyword(s):  
Twentieth Century ◽  
Claude Debussy ◽  
Pablo Picasso ◽  
John Cage ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Piano Works ◽  
Man Ray ◽  
Les Six ◽  
Francis Picabia

Erik Satie’s compositions, writings, and humor played an important role in many modernist movements of the twentieth century. Experimenting with simple forms, neoclassicism, mysticism, satire, and Dadaism, Satie collaborated with prominent artists, musicians, and institutions including Vincent Hypsa, Jean Cocteau, Pablo Picasso, Rene Clair, Francis Picabia, Claude Debussy, Man Ray, the Ballets Russe, the Ballets Suédois. Most recognized today for early his modal, pseudo-antique dances, the Gymnopédies and Gnossiennes, Satie also composed popular tunes, humorous piano works that mocked musical conventions, avant-garde ballets, as well as numerous mystical, irreverent, and nonsensical writings and drawings. His works and persona, sometimes whimsical, arcane, gothic, mystical, or Dadaistic inspired later generations of modernist artists and composers such as Les Six, Virgil Thomson, and John Cage.

French Musical Culture and the Coming of Sound Cinema

2018 ◽  
Author(s):  
Hannah Lewis
Keyword(s):  
New Technology ◽  
Film Music ◽  
Musical Culture ◽  
Jean Cocteau ◽  
Luis Bunuel ◽  
Avant Garde ◽  
Sound Film ◽  
Integral Role ◽  
Transition To Sound ◽  
Poetic Realism

French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.

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