Avant-Garde Film: Forms, Themes, and Passions
Avant-Garde Film: Forms, Themes and Passions examines the variety of concerns and practices that have comprised the long history of avant-garde film at a level appropriate for undergraduate study. It covers the developments of experimental film-making since the modernist explosion in the 1920s in Europe through to the Soviet film experiments, the American Underground cinema and the French New Wave, structuralism and contemporary gallery work of the young British artists. Through in-depth case-studies, the book introduces students not only to the history of the avant-garde but also to varied analytical approaches to the films themselves - ranging from abstraction (Richter, Ruttmann) to surreal visions (Bunuel, Wyn Evans), underground subversion (Jack Smith, Warhol) to experimental narrative (Deren and Antonioni).
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abstract aesthetic Antonioni art cinema art world artists avant avant-garde avant-garde film avant-garde film-makers Bach’s Brakhage’s Breer Bruce Conner Buñuel Chien Andalou Choreography for Camera classic close-up colour complex culture cuts Dada Derek Jarman documentary early Eaux D’Artifice editing Eggeling Eisenstein embraced emotional especially European avant-garde example experience experimental expression figure film avant-garde Film Society film’s filmic Fischinger formal formalist frame French avant-garde garde Gidal Godard graphic Grice Grierson Hans Richter Hollywood Huillet idea influence influential Jayne Parker Keiller Kenneth Anger Kren’s L’eclisse Len Lye Luis Buñuel mainstream Maya Deren medium shot Meshes mise-en-scène modernism modernist montage moving narrative O’Pray painting Patrick Keiller poetic political post-war Rees reminiscent representation rhythms Richter Romantics Ruttmann screen seen sense sensibility sequence sexual shapes Sitney soundtrack Soviet space Stan Brakhage Straub strong structure style surface Surrealism surrealist Taylor-Wood tradition trance film Un Chien Andalou Vertov visual Warhol’s Wyn Evans