The Filming of Modern Life: European Avant-Garde Film of the 1920s"In the 1920s, the European avant-garde embraced the cinema, experimenting with the medium in radical ways. Painters including Hans Richter and Fernand Leger as well as filmmakers belonging to such avant-garde movements as Dada and surrealism made some of the most enduring and fascinating films in the history of cinema. In The Filming of Modern Life, Malcolm Turvey examines five films from the avant-garde canon and the complex, sometimes contradictory, attitudes toward modernity they express: Rhythm 21 (Hans Richter, 1921), Ballet mecanique (Dudley Murphy and Fernand Léger, 1924), Entr'acte (Francis Picabia and René Clair, 1924), Un chien Andalou (Salvador Dali and Luis Buñuel, 1929), and Man with a Movie Camera (Dziga Vertov, 1929). All exemplify major trends within European avant-garde cinema of the time, from abstract animation to "cinema pur." |
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The Filming of Modern Life: European Avant-Garde Film of the 1920s Malcolm Turvey No preview available - 2011 |
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abstract aesthetic analogy appear argued artistic associated attempt attention avant-garde balance Ballet mécanique beauty become Benjamin Buñuel called chapter characters chase chien Andalou cinema claim Clair classical close-up conception concern consists continuity contrast create Criticism culture Dada Dadaists Dalí desire distraction early editing effect Entr’acte example experience expression face fact Figure film filmmakers follow forces human images industrial Léger look machine means mechanical modern environment motion movement Movie Camera moving narrative nature NewYork notes objects ofthe organic painting Paris perceptual perceptual experience period Picabia plastic position practice production pure rationality reality reason rejected relationship repeated result Rhythm Rhythm 21 Richter scene screen seen sense sequence shock shot similarities social society standard suggests surrealism theory things thought tion University Press values Vertov viewer visual whole woman writings