Full Description
This first critical overview of the European film avant-garde ushers in a new approach and creates its own subject. Arguing that a European perspective is the only way to understand the film avant-garde of the 1920s and 1930s, Hagener provides a much-needed summary of the theory and practice of the movement. This incisive study also pioneers a new approach to the alternative cinema network that sustained the avant-garde, paying particular attention to the emergence of screening clubs, film festivals, and archives.
Contents
Table of Contents - 6[-]Acknowledgements - 8[-]Introduction: Avant-garde Culture and Technological Transformations - 12[-]Ch.1:Reframing the Historical Avant-garde - Media, Historiography and Mehtod - 20[-]Ch.2: The Dialectics of Self-Conception - Film Avant-garde and Industry Around 1930 - 42[-]Ch.3:Strategic Convergence and Functional Differentiation - The Film Societies and Cin�-Clubs of the 1920s and 30s - 78[-]Ch.4:Mapping a Totality of Networks, Nodes and Flows - Discourses as Practice - 122[-]Ch.5:Vanishing Point Soviet Union - Soviet Cinema and the West between Innovation and Repression - 160[-]Ch.6: Melodies Across the Oceans - The Intersection of Documentary and Avant-garde - 206[-]Conclusion - Bridging the Gaps, Connecting the Dots - 236[-]Notes - 244[-]Bibliography - 308[-]Filmography - 346[-]Index of Names - 354[-]Index of Film Titles - 362[-]Index of Subjects - 366
