scholarly journals ‘Montage, My Fine Care’: Realism, Surrealism and Postmodernism after Bazin

2016 ◽  
Author(s):  
Ramona Fotiade
Keyword(s):  
New Wave ◽  
French Cinema ◽  
Avant Garde ◽  
The Past ◽  
Mise En Scene ◽  
Shot Transitions ◽  
Time Image ◽  
Silent Era

The title of this chapter takes its cue from one of Jean-Luc Godard’s well-known articles, published in Cahiers du cinéma in 1956, which engaged with Bazin’s conception of cinematic realism in an attempt to effect a generational break with the past by proposing a revised understanding of montage, not simply as an integral part of mise-en-scène, but as a form of deliberate authorial statement and, in that sense, as a practical extension of the New Wave ideology or politique des auteurs. In highlighting Bazin’s formative influence on the New Wave directors (in particular, his relationship to Truffaut and Godard), this chapter also focuses on the revived interest in early avant-garde experimentation (as evidenced, for instance, by Godard’s use of silent era shot transitions, image/sound disjunction and quotations from Surrealist poets in A bout de souffle), as well as the emergence of postmodern strategies and notions of rhythm, movement and time in French cinema (again present in the early work of Jean-Luc Godard), which prefigured Deleuze’s re-appraisal of montage as part of his theory of the movement-image and the time-image.

scholarly journals Other Stories: Experimental Forms of Contemporary Historying at the Crossroads Between Facts and Fictions

2018 ◽  
Vol 14 (1) ◽  
pp. 5-15
Author(s):  
Małgorzata Sugiera
Keyword(s):  
New Wave ◽  
Main Argument ◽  
Historical Discourse ◽  
Avant Garde ◽  
The Past ◽  
Academic History ◽  
The Future ◽  
Rhetorical Dimension ◽  
Hayden White ◽  
Experimental History

Summary The process of questioning the authority of academic history—in the form in which it emerged at the turn of the 19th century—began in the 1970s, when Hayden White pointed out the rhetorical dimension of historical discourse. His British colleague Alun Munslow went a step further and argued that the ontological statuses of the past and history are so different that historical discourse cannot by any means be treated as representation of the past. As we have no access to that which happened, both historians and artists can only present the past in accordance with their views and opinions, the available rhetorical conventions, and means of expression. The article revisits two examples of experimental history which Munslow mentioned in his The Future of History (2010): Robert A. Rosenstone’s Mirror in the Shrine (1988) and Hans Ulrich Gumbrecht’s In 1926 (1997). It allows reassessing their literary strategies in the context of a new wave of works written by historians and novelists who go beyond the fictional/factual dichotomy. The article focuses on Polish counterfactual writers of the last two decades, such as Wojciech Orliński, Jacek Dukaj, and Aleksander Głowacki. Their novels corroborate the main argument of the article about a turn which has been taking place in recent experimental historying: the loss of previous interest in formal innovations influenced by modernist avant-garde fiction. Instead, it concentrates on demonstrating the contingency of history to strategically extend the unknowability of the future or the past(s) and, as a result, change historying into speculative thinking.

scholarly journals The Memory of the Avant-Garde and the New Wave in the Contemporary Serbian Novel

2020 ◽  
Vol 43 (2) ◽  
Author(s):  
Marko Avramović
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
New Wave ◽  
Avant Garde ◽  
The Past ◽  
Twenty First Century

This article is dealing with the topic of two past twentieth-century epochs in a few representative Serbian novels at the turn from the twentieth to the twenty-first century. These are the 1980s and the New Wave era in Yugoslavia, an epoch close to the past that can still be written about from the perspective of an immediate witness, and the avant-garde era, that is, the period between the two world wars marked in art by different movements of the historical avant-garde. The novels Milenijum u Beogradu (Millennium in Belgrade, 2000) by Vladimir Pištalo, Vrt u Veneciji (The Garden in Venice, 2002) by Mileta Prodanović, and Kiša i hartija (Rain and Paper, 2004) by Vladimir Tasić are being interpreted. In these novels, it is particularly noteworthy that the two aforementioned epochs are most commonly linked as part of the same creative and intellectual currents in the twentieth century.

scholarly journals Między minimalizmem a melodramatem. Przestrzeń filmowa w kinie rumuńskiej nowej fali

2020 ◽  
Vol 27 (36) ◽  
pp. 71-92
Author(s):  
Adam Domalewski
Keyword(s):  
Public Spaces ◽  
New Wave ◽  
The Past ◽  
Starting Point ◽  
Film Images ◽  
Mise En Scene ◽  
Private And Public ◽  
New Wave Cinema ◽  
The Times ◽  
Nicolae Ceausescu

The starting point for considering the means of creating and designing a film space in Romanian New Wave cinema is the thesis that Romanian film art in the 21st century is an artistic response to the times of communism and that images of the post-socialist architectural space – their multi-faceted functionalization in film mise-en-scéne – are the key method of evoking memories of the past. The article discusses, via the example of movies by Crisitian Mungiu, Corneliu Porumboiu and Cristi Puiu, (1) ways of depicting the “closing” of film characters in the cramped interiors of their apartments and (2) film images of individuals’ alienation in public spaces, both of them allusively referring to the times of the oppressive Nicolae Ceaușescu regime. The most important cinematographic devices used bythe authors of the Romanian New Wave cinema include: seemingly static shots, which, however, are filmed with a camera that is constantly gently moving and observing, and tableau shots. A common feature of all the considered works is the panopticism of the film world: the private and public spaces designed in them easily become a place of constant, panoptical observation. In the summary, theauthor remarks on and briefly discusses the coexistence of the aesthetics of minimalism / realism with the melodramatic elements in the cinematic structure of Romanian New Wave films.

Aquarelles parisiennes: Gautier, Baudelaire, and the Poetry of Urban Watercolours

2019 ◽  
Vol 58 (2) ◽  
pp. 170-182
Author(s):  
Karen F. Quandt
Keyword(s):  
Urban Landscape ◽  
Second Empire ◽  
Theophile Gautier ◽  
Avant Garde ◽  
Meeting Point ◽  
Mise En Scene ◽  
Bleed Through ◽  
Fleurs Du Mal

Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.

Between Jerusalem and Athens

2018 ◽  
Author(s):  
Nurit Yaari
Keyword(s):  
Real Time ◽  
Social Conditions ◽  
Cultural Events ◽  
Greek Drama ◽  
The Past ◽  
Key Points ◽  
Mise En Scene ◽  
Dramatic Writing ◽  
Artistic Performance

How does a theatrical tradition emerge in the fields of dramatic writing and artistic performance? Can a culture, in which theatre played no part in the past, create a theatrical tradition in real time—and how? What was the contribution of classical Greek drama to the evolution of Israeli theatre? How do political and social conditions affect the encounter between cultures—and what role do they play in creating a theatre with a distinctive identity? This book, the first of its kind, attempts to answer these and other questions, by examining the reception of classical Greek drama in the Israeli theatre over the last seventy years. It deals with dramatic and aesthetic issues while analysing translations, adaptations, new writing, mise-en-scène, and ‘post dramatic’ performances of classical Greek drama that were created and staged at key points of the development of Israeli culture amidst fateful political, social, and cultural events in the country’s history.

“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)

2021 ◽  
Vol 1 (15) ◽  
pp. 67-107
Author(s):  
Ines R. Artola
Keyword(s):  
Strict Sense ◽  
Sonata Form ◽  
Historical Sources ◽  
Avant Garde ◽  
20Th Century Music ◽  
The Third ◽  
Word Analysis ◽  
The Past ◽  
History Of ◽  
The One

The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).

The Cultural Context of Reception:

2012 ◽  
Vol 3 (2) ◽  
pp. 38-55
Author(s):  
Riikka Korppi-Tommola
Keyword(s):  
Cultural Context ◽  
Theoretical Framework ◽  
High Expectations ◽  
Cultural Contexts ◽  
Avant Garde ◽  
Cultural Perspectives ◽  
The Past ◽  
Dance Company ◽  
Merce Cunningham ◽  
Encounter Time

Abstract The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.

scholarly journals Raupp: 50 years of neuroradiology

2011 ◽  
Vol 69 (3) ◽  
pp. 552-554
Author(s):  
Daison Nelson Ferreira Dias
Keyword(s):  
Computed Tomography ◽  
Literature Review ◽  
Search Term ◽  
Medical Residency ◽  
Residency Programs ◽  
Avant Garde ◽  
The Past ◽  
Therapeutic Techniques

OBJECTIVE: Evaluate the laboral and intellectual contributions of a founder of Brazilian Neuroradiology to the development of specialty. METHOD: Interviews were conducted with Dr. Raupp and contemporary doctors. Then we made a literature review with the Raupp search term aiming to identify those papers which included major changes in the diagnostic and therapeutic neurosurgical. RESULTS: The colleagues consulted were unanimous in recognizing the work of avant-garde and the importance of Dr. Raupp to the development of neuroradiological methods, especially in the pre-computed tomography fase. CONCLUSION: The work of Dr. Raupp was fundamental for the consolidation of Brazilian Neuroradiological School over the past five decades. He developed diagnostic and therapeutic techniques in congruence with the practices of the specialty on the global stage and he promoted education through medical residency programs.

Pedagogic In(ter)ventions

2017 ◽  
Author(s):  
Yvonne Hardt
Keyword(s):  
Educational Setting ◽  
Avant Garde ◽  
The Past ◽  
Group Knowledge ◽  
Institutional Aspects

This chapter investigates how working with Yvonne Rainer’s “Continuous Project–Altered Daily” in a dance educational setting gears the attention toward the importance of context, corporeal and group knowledge, and the specific skills of reenacting the scores of performances of avant-garde dance. Thus, the chapter not only allows for a wider theorization of working with the past as a performative practice, but also rereads common interpretations of Rainer’s work that so far have predominantly focused on the anti-institutional aspects; thus the chapter focuses on revealing the productive, highly cooperative, and performative knowledge that was also constitutive for Rainer’s creation processes and improvisation-based performances.

scholarly journals a vital past

2021 ◽  
pp. 67-67
Author(s):  
Elena Grigoryeva ◽  
Konstantin Lidin
Keyword(s):  
Twentieth Century ◽  
New World ◽  
Family Relations ◽  
Avant Garde ◽  
The Past ◽  
Special Meaning ◽  
Design And Construction

We lived and lived. But then, whoops!We found ourselves in other times…Timur Shaov. “Other times (listening to Galich once again)”Crises shaking our reality in the last decades happen so often that they overlap each other like roof tiles. Linear development of the second half of the twentieth century gave way to the era of cardinal changes. While building a new world, we strongly feel the need to preserve and comprehend the past. It is possible to understand the new only in comparison with the past. The disappearing world that consists of separate, isolated and selfcontained fragments is embodied in monuments of architecture. Images, techniques and practices of design and construction acquire a special meaning and new relevance in these new times. Wooden architecture of Siberia and stone merchant houses in Yalutorovsk, ancient churches and Leonidov’s avant-garde project, ruins of Stalin’s camps and the Korean Garden in Irkutsk are elements of the past that we need to understand the present. Protesting against the unification of tastes, breach of family relations and destruction of traditions, glocalization is on the rise.

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