By Kamila Kuc
Warsaw- and London-based filmmakers Franciszka and Stefan Themerson are frequently well-known across the world as pioneers of the Thirties Polish avant-garde. but, from the flip of the century to the top of the Nineteen Twenties, Poland’s literary and artwork scenes have been additionally generating a wealthy array of feedback and early experiments with the relocating photograph that set the degree for later advancements within the avant-garde. during this entire and obtainable research, Kamila Kuc attracts on myriad undiscovered archival resources to inform the historical past of early Polish avant-garde movements―Symbolism, Expressionism, Futurism, and Constructivism―and to bare their influence on later practices in paintings cinema.
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Extra resources for Visions of Avant-Garde Film: Polish Cinematic Experiments from Expressionism to Constructivism
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The stones are Industry and Commerce which impose their own ways and means upon it. 14 The poor shape of Polish film productions in the late 1910s contributed to the critics’ general concern for the state of the not yet born Polish film industry. “Creative Fever”: Defending Film’s Unique Qualities Throughout the 1910s cinema everywhere was being compared with the other arts and often judged to be inadequate. It was also around that time that the first arguments for the aesthetic value of film began to appear in the Polish press.
Dziga Vertov believed that it was montage that made it possible for his works to reveal truths which were inaccessible to the human eye. 43 The creative power of cinema relied on the mechanical nature of the camera, which constituted almost a magical tool in the hands of a director (or a cinematographer in the case of Vertov’s 1929 film Man with a Movie Camera), who reflected on the process of filmmaking: Stupefaction and suggestion—the art-drama’s basic means and influence— relate to that of religion and enable it for a time to maintain a [person] in an excited unconscious state.
Only consciousness can fight the sway of magic in all its forms. I am kino-eye. 45 The constructivist focus on producing useful objects meant taking part in the building and modernization of the new Soviet society. ”47 But it was Lev Kuleshov who in the 1920s began conducting experiments with montage. Using the famous actor Ivan Mozzukhin, Kuleshov framed his 18 | Visions of Avant-Garde Film face in a single and emotionally neutral shot. When juxtaposed with an image of a corpse, a woman, and a bowl of soup, the viewers interpreted the shot as expressions of, respectively, grief, sexual desire, and hunger.