DOCSLIB.ORG

“As Unified, Bi-Sensorially, As the Sound Film Can Be” : Composed

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“As Unified, Bi-Sensorially, As the Sound Film Can Be” : Composed “As unified, bi-sensorially, as the sound film can be” 1: Composed interdependence of abstract moving image and synthesized sound in John and James Whitney’s Five Film Exercises Volker Straebel, Audio Communication Group, Technical University Berlin Paper at Music and the Moving Image , New York University, Steinhardt School of Culture, Education, and Human Development, May 30, 2009 Introduction When John and James Whitney started working in their studio in Los Angeles in 1943 on what was to become the Five Film Exercises , the brothers were ambitious young men, 26 and 22 years of age. After they had completed their abstract 8mm silent Twenty-Four Variations in 1940, they were about to no less than create a truly audio-visual abstract sound film that was meant to overcome the structural discrepancy of earlier work in this field. In an unpublished essay from 1943 or 44, they declared: “We extended our approach to organization within the new cinema medium, into its audio as well as visual elements. [... O]ur objective is organization on strictly new lines which we believe to be inherent within the medium itself.” 2 This approach implied on the technical level the development of an improved animation technique utilizing stencils that were directed by means of pantographs, and the creation of a technique to design the optical soundtrack directly on film, without recording audible sound. Both elements, visuals and audio, were precisely composed and notated in an unifying score, that to the scholar seems to pose more questions than answers. In this paper, I’m trying to answer some of these questions. Drawing from mostly unpublished material from the estate of John and James Whitney, to which John Whitney Jr. kindly and generously provided me access, I’m going to reconstruct the artistic background of the Whitney brothers at the time of the creation of the Five Film Exercises , describe the technique of animation and sound creation in use, and present my understanding of the score. Further research will be necessary to extract a structural analysis from the score to gain a better understanding of the interdependence of image and sound. Artistic Background John Whitney spent the year of 1938/39 on his grand tour in Europe. On a Rotterdam-bound freighter he shot non-narrative sequences of geometrical elements and abstract forms with his 8mm camera. It was not before his return to California that he learned about Walter Ruttmann’s Berlin – Sinfonie der Großstadt of 1927, that not only had extended the montage of observations of everyday life to a feature-length film, but that also carried the musical genre of the symphony in its title, thereby emphasizing the non-narrative, abstract nature of the film, John Whitney had been interested in. 3 1 John Whitney and James Whitney, "Audio visual music", in Art in Cinema. A Symposium on the avantagrde film , ed. Frank Stauffacher (San Franciso: Art in Cinema Society; San Francisco Museum of Art, 1947): 31-34, 32. 2 James Whitney and James Whitney, [Both of us began our film work four years ago] , John and James Whitney Estate, 1943, 3. 3 John Whitney, Digital Harmony. On the Complementarity of Music and Visual Art (Peterborough, New Hampshire: Byte Books, 1980), 21-22. –2– Of higher significance was Whitney’s stay in Paris. There he was a neighbor of René Leibowitz, the conductor and composer, who at that time had just begun to absorb Arnold Schoenberg’s 12-tone technique. The two young men – Leibowitz was Whitney’s senior by just four years – met two or three times a week over a period of several months, during which Whitney gained a broad knowledge of serial composition techniques. 4 Back in California, he would buy a copy of Ernst Krenek’s Studies in counterpoint. Based on the Twelve-Tone Technique right after it’s publication by Schirmer, New York in 1940. 5 During his stay in Paris, John Whitney also started experimenting with abstract animation. Again, he wasn’t aware of earlier work done in this field and didn’t know of Oskar Fischinger e.g., at that time a refugee living in Los Angeles. But while Fischinger’s abstract animation visualized the progression of melodies and motives mostly of classical music, Whitney was interested in applying the concept of serial music composition to the changing film images themselves. The first outcome of this artistic enterprise were the Twenty-Four Variations , a 8mm color silent of five minutes duration, which he created together with his younger brother James after his return to Los Angeles an 1939/40. Here, basic geometric shapes move in simple ways, thus creating visual- kinetic motives. As the title suggests, they are subjected to a circle of variations, in which’s course speed and direction are changed, shapes and/or movements are mirrored, inverted and superimposed. An array of forms, from which the variations were organized, suggests the nearness of the Whitneys approach to form in time to the serial thinking of 12-tone technique. It is not as surprising as it might seem at first glance, that an essay John Whitney had written on his early work, was first published in German translation in the journal Die Reihe , the famous organ of the serial school of post-war Cologne, edited by Herbert Eimert and Karlheinz Stockhausen. 6 Another artistic framework of importance to the Whitney brothers was the work of Paul Klee, most notably Klee’s thoughts on line, shape, time and space in drawing, as expressed in his Pädagisches Skizzenbuch of 1925. 7 In his instructional graphics, Klee explained how opaque shapes such as squares and circles can be understood as derived from moving or rotating lines . This concept of so-called “passive lines” is of double interest here. First, it might have served as an inspiration to not only move shapes in time, enlarge and diminish them, but to change the shapes themselves in a disciplined and structurally clear manner. Secondly, the concept of understanding shapes as derived from movements of lines might have inspired the use of pantographs for creating the abstract animation. Klee also spoke of visual structure in terms of rhythm. Hereby, he implied a succession of elements in time, even though the elements of a drawing are of course visible to the observer simultaneously. It is to the observer to structure his or her experience in time. In what they called a “visual time art” 8, the Whitney brothers were able to subject what Adorno called the “Zeitkern”, the time core of the art work, 9 to their artistic organization. Animation Technique For creating the abstract animation of their Five Film Exercises , the Whitney brothers basically made use of the technique they had developed for the Twenty-Four Variations. “Two or more shapes cut 4 Ibid., 174. 5 Ernst Krenek, Studies in counterpoint. Based on the Twelve-Tone Technique (New York: Schirmer, 1940). 6 John Whitney, "Bewegungsbilder und elektronische Musik", Die Reihe , no. 7 (1960): 62-72. 7 Paul Klee, Pädagogisches Skizzenbuch , Bauhausbücher 2 (München: Langen, 1925). 8 James Whitney and John Whitney, "Audio-Visual Music", Arts and Architecture 61, no. 12 (Dec. 1944): 28, 42, 28. 9 Theodor W. Adorno, Aesthetic Theory , ed. Gretel Adorno and Rolf Tiedemann, trans. Robert Hullot-Kentor (London - New York: Continuum, 2004), 174-198. –3– out of opaque papers are manipulated one over the other with a diffused area of light underneath. [...] The only image recorded by the camera is that part of the light area contained within the cut-out shapes of the opaque papers: i.e. where the cut-out portions overlie each other permitting the light to pass through [...].” 10 The stencils were moved by means of two pantographs. The use of pantographs allowed to precisely transfer a movement path, laid out beforehand and followed by a tracer, to a stencil. Which stencils where to use and what movements they had to follow, was defined in a score. Thus, “thematic raw material” 11 was produced on black and white 16mm film. To build the desired sequences, this material was transferred to color film by means of an optical printer. Thereby, speed, size and orientation could be changed, color added and several images could be superimposed. The complexity of this process made it difficult for the artists to score their work, which makes it difficult for us to decode the animation sheets. The surviving score material of Five Film Exercises consists of some 400, mostly single-sided folio of letter size paper. Image and music are usually scored on different pages, and when too many actions are superimposed, more than one page per track is used. Image and music are linked together by the frame count, however, the music often starts before the image. The offset of image and sound on the final print is sometimes indicated (e.g. fol. A-155), but usually taken for granted. Fol. B-109v shows the beginning of the third section of Film Exercise #1. On the left, time is indicated by frames and feet, thereby representing 20 seconds. We see five visual movements superimposed, with numbers indicating the stencils in use, while figures that follow the letter R refer to a movements path – they stand for “radical action”. Rhomb shaped lines, finally, symbolize the change of size and/or focus in the optical printer. Sound Before I focus on the means of sound production in the Five Film Exercises , I would like to play the beginning of Exercise #4 (film) . The main undertaking of the Five Film Exercises was the integration of image and sound in a truly audio-visual art form.
Load more

Recommended publications
  • Some Critical Perspectives on Lotte Reiniger William Moritz [1996] 15
    "Animation: Art and Industry" ed. by Maureen Furniss, Indiana University 2Some CriticalPerspectives on Lotte Reiniger SomeCritical Perspectives onLotte Reiniger William Moritz [1996] otte Reiniger was bornin Berlin her first independent animation film, Das on 2June 1899. As a child, she Ornament des verliebten Herzens (Ornament Ldeveloped a facility withcutting of the Loving Heart), in the fall of 1919. paper silhouette figures, which had On the basis of the success of thisfilm, she become a folk-art formamong German got commercial workwith Julius women. As a teenager, she decided to Pinschewer’s advertising filmagency, pursue a career as an actress, and enrolled including an exquisite “reverse” silhouette in Max Reinhardt’s Drama School. She film, Das Geheimnis der Marquise (The began to volunteer as an extra for stage Marquise’s Secret), in which the elegant performances and movie productions, and white figures of eighteenth-century during the long waits between scenes and nobility (urging you to use Nivea skin takes, she would cut silhouette portraitsof cream!) seem like cameo or Wedgwood the stars, which she could sell to help pay images. These advertising films helped her tuition. The great actor-director Paul fund four more animated shorts: Amor und Wegener noticed not only the quality of das standhafte Liebespaar (Cupid and The the silhouettesshe made, but also her Steadfast Lovers, which combined incredible dexterity in cutting: holding the silhouettes with a live actor) in 1920, Hans scissors nearly still in her right hand and Christian Andersen’s Der fliegende Koffer moving the paper deftly in swift gestures (The Flying Suitcase) and Der Stern von thatuncannily formulated a complex Bethlehem (The Star of Bethlehem) in profile.
    [Show full text]
  • Milestone Film and the British Film Institute Present
    Milestone Film and the British Film Institute present “She was born with magic hands.” — Jean Renoir on Lotte Reiniger A Milestone Film Release PO Box 128 • Harrington Park, NJ 07640 • Phone: (800) 603-1104 or (201) 767-3117 Fax: (201) 767-3035 • Email: [email protected] • www.milestonefilms.com The Adventures of Prince Achmed Die Abenteur des Prinzen Achmed (1926) Germany. Black and White with Tinting and Toning. Aspect Ratio: 1:1.33. 72 minutes. Produced by: Comenius-Film Production ©1926 Comenius Film GmbH © 2001 Primrose Film Productions Ltd. Based on stories in The Arabian Nights. Crew: Directed by ........................................Lotte Reiniger Animation Assistants..........................Walther Ruttmann, Berthold Bartosch and Alexander Kardan Technical Advisor..............................Carl Koch Original Music by..............................Wolfgang Zeller Restoration by the Frankfurt Filmmuseum. Tinted and printed by L'immagine ritrovata in Bologna. The original score has been recorded for ZDF/Arte. Scissors Make Films” By Lotte Reiniger, Sight and Sound, Spring 1936 I will attempt to answer the questions, which I am nearly always asked by people who watch me making the silhouettes. Firstly: How on earth did you get the idea? And secondly: How do they move, and why are your hands not seen on screen? The answer to the first is to be found in the short and simple history of my own life. I never had the feeling that my silhouette cutting was an idea. It so happened that I could always do it quite easily, as you will see from what follows. I could cut silhouettes almost as soon as I could manage to hold a pair of scissors.
    [Show full text]
  • Repetitions, Dichotomies and Transference in European Cinema of the 20S
    Repetitions, dichotomies and transference in European cinema of the 20s THE CASE OF DOURO, FAINA FLUVIAL [AKA: --- Alexandra Serapicos DOURO, WORKING RIVER] AND OF Escola das Artes Universidade Católica Portuguesa [AKA: THE --- BATTLESHIP POTEMKIN] Warning 1. Regarding the films under analysis, only words by their In 1927, Walter Ruttmann, then 39, made Berlin: authors are used as references. There is, therefore, a de- die Sinfonie der Großstadt (Berlin, Symphony of a liberate ‘disinterest’ in other people’s opinions. Authors Great City); in 1931, Manoel de Oliveira, at almost 23, do not always tell everything, sometimes they distort the finished his first film, Douro, Faina Fluvial2 (Douro, order of things and facts themselves (not always to their Working River), which he had begun in 1929. There own advantage), but even their ‘lies’ offer us clues, if not have been many comparisons between the two films to the final significance, at least for their intentions and and in the recent exhibition dedicated to the work wishes - for the project. I think that one’s own work and of Manoel de Oliveira, in Serralves Museum, a trip- words are (almost) always the best point of departure for tych was proposed: Berlin, Symphony of a Great City personal reflection, even if it results in already explored or (Ruttmann) – The Man with a Movie Camera (Vertov) proposed paths. This warning is justified because there are – Douro, Working River (Oliveira). Rather than taking countless analyses, particularly of Eisenstein’s Potemkin, up again a reflection on ‘city films’ and the, appar- openly ignored here. This is, evidently, a contradiction in ently clear, formal analogies between these three terms, given that I know some of these analyses and it films, and in particular between Berlin, Symphony would be impossible to forget them completely.
    [Show full text]
  • The Expanded Image: on the Musicalization of the Visual Arts in the Twentieth Century Sandra Naumann
    The Expanded Image: On the Musicalization of the Visual Arts in the Twentieth Century Sandra Naumann Sandra Naumann, The Expanded Image: On the Musicalization of the Visual Arts in the Twentieth Century, in: Dieter Daniels, Sandra Naumann (eds.), Audiovisuology, A Reader, Vol. 1: Compendium, Vol. 2: Essays, Verlag Walther König, Köln 2015, pp. 504-533. 505 Exposition Until well into the nineteenth century, the experience of audiovisual arts was bound to a unity of space and time (and action, too, in a certain sense). The technical media of photography, gramophone recording, silent film, talking film, and video made it possible to reproduce sounds and images, but they also separated them only to slowly reunite them again. These media evolved from devices used purely for storage and reproduction into performative instru- ments for creating new forms of audiovisual experience in real time, a process reinforced through numerous efforts to synthesize or expand the arts by incor- porating or transferring concepts and techniques from different art forms. Thus, musical theories and techniques were adopted to explain developments in the visual arts, and vice versa. Against this general background, this essay aims to identify strategies which the visual arts borrowed from music while changing and expanding compul- sively during the twentieth century. The focus will not be on image/sound com- binations, although sound does often play a part in the works that will be dis- cussed in the following. Instead, this text will deal with the musicalization of the image in a broader sense. These endeavors first culminated in the 1910s and 1920s, then again in the 1960s and 1970s, and for the third time from the 1990s until today.
    [Show full text]
  • Abstract Animation Played a Central Role in the Early History Of
    Abstract Animation played a central role in the early history of advertising film in Europe. While there were, of course, many live-action films, by the 1910s product advertising relied heavily on the techniques and conventions of the trick film. After WWI, advertising would come to offer a fertile terrain for the development of nearly every type of animation, from drawn caricature to avant-garde experimentation and from stop trick to puppets and silhouettes. In this article, I examine this predilection for such graphic forms in advertising film within the context of control strategies both aesthetic and economic. Tracing the development of animation in advertising from trick films to industrialized animation, I show how animation served both to work through questions of capitalist modernity and – increasingly – to realize new forms of instrumental images based on the dictates of advertising psychology as it arose after WWI. Advertising and Animation From the Invisible Hand to Attention Management “The attraction that radiates from objects in film is that of seeing something inanimate become animate.” Arnold Zweig, “Theoretische Grundlegung des Films in Thesen” (1922) Although early product advertising film came in many forms, it is hard to overlook the extensive use of animation. While the earliest film advertisements tended to use live- action, the institutionalization of advertising film in Europe during the 1910s coincided with the adoption of conventions from trick film, and advertising went on to employ nearly every type of animation, from stop-trick and sand animation to silhouettes, experimental abstraction and – the most widespread form of advertising in the 1920s – drawn character animation.
    [Show full text]
  • A Supercut of Supercuts: Aesthetics, Histories, Databases
    A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide.
    [Show full text]
  • Easel-Scroll-Film
    EASEL—SCROLL—FILM Hans Richter Magazine of Art February, 1952 This document is out of print and the writing is beyond copyright, or it is being reproduced with the permission of the authors and publishers. This version reflects the general appearance of the original, though modern computer-based type has been substituted with the consequence that within-page spacing is slightly altered. Pagination has been respected so that citations will remain correct. This electronic version of the work is copyrighted. You may reproduce and distribute it, but only for free and only with this notice intact. Related material is available at our web site. ©Fred Collopy 2001. EASEL—SCROLL—FILM Hans Richter “The square is the sign of a new humanity. It is something like the cross of the early Christians.” That is what Theo van Doesburg told the Swedish painter, Viking Eggeling, and me on his arrival at our country retreat in Klein Koelzig, Germany, in 1920. We were a little perturbed and skeptical about van Doesburg's statement, but we understood its spirit. We felt as he did. Through some magic, a new unity of purpose in the arts had developed in Europe during the isolation of the war years. Now that the war was over, there suddenly existed a kind of esthetic Hans Richter, Head, oil, 1918. Positive and negative relationships. brotherhood, secretly developed. Whether or not the square was its symbol seemed to us of no importance in comparison to the fundamental issues upon which we could all agree. general trend towards collective standards, as the sociologists We had seen, after 1910, that representation of the object had might call it, or the all-penetrating influence of science—the fact declined.
    [Show full text]
  • Final Paper Walter Ruttmann's Weekend: Sound, Space and The
    Final Paper Walter Ruttmann's Weekend: Sound, Space and the Multiple Senses of an Urban Documentary Imagination By Jesse Shapins ([email protected]) For Professor Peter Gordon History 1485: Weimar Intellectuals January 14, 2008 Introduction: Sound, Urban Space and a Weekend in Berlin On June 6th, 1930 a radically new form of radio was broadcast over the Berlin airwaves. An 11 minute, 20 second long collage of raw sounds greeted listeners accustomed to hearing news reports, occasional classical musical programs and, only very recently, literary works written specifically for radio performance, the nascent genre known as Hörspiel ("radio drama"). This startling work was Weekend, an audio documentary created by Walter Ruttmann, an avant- garde artist best known for his experimental filmmaking, most famously, his 1927 production Berlin — Sinfonie einer Großstadt. Weekend marks a milestone in the history of media arts as a first significant experiment in montage-based radio. The piece consists of six "movements," transpiring from Saturday afternoon at the factory through a night out, a "pastoral" Sunday, and finally the city returning to work on Monday.1 Ruttmann gathered his sounds by driving around Berlin in a van with a hidden microphone, stopping at locations such as train stations, factories, and busy streets to record the uninhibited, rhythm of the city. For Ruttmann's Hörspiel, the city of Berlin itself was the main actor, avoiding any traditional theatrical performers like other literary Hörspiele of the time.2 Ruttmann's limited time recording in the studio was used to capture a few notes of classical instruments such as the violin and piano, but also to record the "playing" of non- traditional instruments such as a saw and hammer.
    [Show full text]
  • ``From Painting to Film: Abstract Cinema and Synaesthesia
    “From Painting to Film: Abstract Cinema and Synaesthesia Marie Rebecchi To cite this version: Marie Rebecchi. “From Painting to Film: Abstract Cinema and Synaesthesia. From Sensation to Synaesthesia in Film and New Media, pp.205-215, 2019. hal-03226469 HAL Id: hal-03226469 https://hal.archives-ouvertes.fr/hal-03226469 Submitted on 14 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. From Sensation to Synaesthesia in Film and New Media From Sensation to Synaesthesia in Film and New Media Edited by Rossella Catanese, Francesca Scotto Lavina and Valentina Valente From Sensation to Synaesthesia in Film and New Media Edited by Rossella Catanese, Francesca Scotto Lavina and Valentina Valente This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Rossella Catanese, Francesca Scotto Lavina, Valentina Valente and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner.
    [Show full text]
  • German Visual Culture: Documentary Film
    GERMAN VISUAL CULTURE: DOCUMENTARY FILM GERM 379 WINTER (2021) PROF. DANIEL SCHWARTZ What is a documentary film? How does it represent people and facts? How does it negotiate the cross-currents of ideology, propaganda, pedagogy, and actual events? In the age of “fake news,” these questions are more important than ever. This course explores them through the lens of documentaries that concern some of the most tumultuous periods in German history: the Weimar Republic, the Nazi era, and the 1960s. Like today, these periods are characterized by the difficulty of separating fact from fiction; they are also the subject of numerous documentaries that strive to understand what “really” happened. By watching these films, students will develop a firm basis in the fundamentals of documentary film theory and aesthetics. Students will also have the opportunity to make their own documentary films. BASIC INFORMATION Professor: Daniel Schwartz ([email protected]) Office Hours: Thursday, 17:30 – 19:30, or by appointment. REQUIRED READING All Readings will be made available on My Courses Students must have read the readings before class meets / as necessary to complete assignments. REQUIRED FILMS Film for this class are available on various streaming platforms including Kanopy, YouTube, and Amazon. McGill has a subscription to Kanopy that is available to all students. Login at https://mcgill.kanopy.com. Unfortunately, McGill does not have online access to every film I wish to show for this course. It is thus likely that you will have to pay to stream some of them. The cost to stream these films, however, should be less than buying books for other courses – around $5 per film.
    [Show full text]
  • Avant-Garde Culture and Media Strategies: the Networks and Discourses of the European Film Avant-Garde, 1919-39
    UvA-DARE (Digital Academic Repository) Avant-garde culture and media strategies: the networks and discourses of the European film avant-garde, 1919-39 Hagener, M. Publication date 2005 Link to publication Citation for published version (APA): Hagener, M. (2005). Avant-garde culture and media strategies: the networks and discourses of the European film avant-garde, 1919-39. in eigen beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:25 Sep 2021 Avant-gardee Culture Chapterr 6: Acrosss the Oceans Thee Intersection of Documentary and Avant-garde ToTo the retrospective mind, the end of a year that gave us Stuttgart, LaLa Sarraz, as banners to the avant garde - that strange platoon foreverforever marking time - that saw the dawn of montage consciousness, notnot altogether unlike the angry weal of an insect sting, and sent or promised aa thousand and one mixed blessings, talkies iiberall; needs some recapitulation, somesome winnowing thoughts to shape its varying developments for future benefit.
    [Show full text]
  • Film Avant-Garde, 1919-39
    UvA-DARE (Digital Academic Repository) Avant-garde culture and media strategies: the networks and discourses of the European film avant-garde, 1919-39 Hagener, M. Publication date 2005 Link to publication Citation for published version (APA): Hagener, M. (2005). Avant-garde culture and media strategies: the networks and discourses of the European film avant-garde, 1919-39. in eigen beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 Avant-gardee Culture Chapterr 2: Thee Network of Art in the Age of Mechanical Reproducibilityy - Film Avant-garde and Industry Aroundd 1930 [0]ne[0]ne day somebody should figure out how much >experimental<>experimental< work has been done in commercials thatthat would not have been done without them.
    [Show full text]