Abstract Cinema and Aesthetic Utopia in the Interwar Period.
The article attempts to clarify the positioning and the status of abstract cinema of the 1920s and the 1930s within the broader category of experimental cinema, and it does so through an analysis of the artistic context in which it emerged and of its visual language. The abstract cinema, or absolute...
| Publicado en: | Caietele Echinox Vol. 29; pp. 53 - 65 |
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| Formato: | Artículo |
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Echinox Cultural Foundation
2015
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=111744374&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 111744374 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 1582960X 90EZ jtl: Caietele Echinox issn: 1582960X maglogo: N pubinfo: dt: 2015 vid: 29 pid: 52779 pub: Echinox Cultural Foundation artinfo: ui: 111744374 ppf: 53 ppct: 12 formats: fmt: @attributes: type: P size: 161KB tig: atl: Abstract Cinema and Aesthetic Utopia in the Interwar Period. aug: au: RUSU, CRISTIAN affil: Babeş-Bolyai University, Cluj-Napoca, Romania su: Experimental films Abstract cinematography Visual programming languages (Computer science) Iconoclasm Motion pictures sug: subj: Experimental films Abstract cinematography Visual programming languages (Computer science) Iconoclasm Motion pictures keyword: Abstract Art Abstract Cinema Avant-garde Constructivism Experimental Film Gesamtkunstwerk Narration ab: The article attempts to clarify the positioning and the status of abstract cinema of the 1920s and the 1930s within the broader category of experimental cinema, and it does so through an analysis of the artistic context in which it emerged and of its visual language. The abstract cinema, or absolute cinema, as it was called by those designing it, much unlike the experimental films made during that time, employs an iconoclastic language. Another topic of debate I propose is whether abstract cinema can generate a specific imaginary, given that cinema is, by definition, a story projected onto a screen, in itself a generator of a parallel time for the viewers, where they can build an imaginary. Was this a utopian endeavor or not? pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Caietele Echinox is the property of Echinox Cultural Foundation and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Caietele Echinox holder: Echinox Cultural Foundation dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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