A Modernist CinemaPub Date : 2021-09-30DOI: 10.1093/oso/9780199379453.003.0004
L. Siraganian
{"title":"Sergei Eisenstein’s Collage","authors":"L. Siraganian","doi":"10.1093/oso/9780199379453.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780199379453.003.0004","url":null,"abstract":"Soviet director Sergei Eisenstein’s films have become nearly synonymous with cinematic montage’s birth and development. Yet scholars have almost never aligned Eisenstein’s inventiveness with painterly collage, a deeply connected trend appearing in European art. This chapter considers why thinking about Eisenstein’s theory and practice of cinematic montage, in connection with the theory and practice of painterly collage, matters to the history of modernist meaning. For artists and filmmakers alike, cutting and pasting together disparate fragments of art’s elements (its units of sense) raised one of modernism’s most misunderstood yet obsessive concerns: understanding the basic relation between art objects and beholders as a problem of how artistic meaning could be communicated. Analyzing instances of montage in his early film Strike (1925) as a chief illustration, the chapter explores the semiology of collage in comparison with Eisenstein’s semiology of montage, inserting the filmmaker as both practitioner and theorist into a conversation with “decadent” western modernism.","PeriodicalId":274644,"journal":{"name":"A Modernist Cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133745506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A Modernist CinemaPub Date : 2021-09-30DOI: 10.1093/oso/9780199379453.003.0013
J. Matz
{"title":"“Tout le monde a ses raisons”","authors":"J. Matz","doi":"10.1093/oso/9780199379453.003.0013","DOIUrl":"https://doi.org/10.1093/oso/9780199379453.003.0013","url":null,"abstract":"Much about Jean Renoir’s La Règle du jeu could place it among the classic works of modernism, but Renoir’s film is also traditional and even conservative. This ambiguity derives from Renoir’s impressionism. He was dedicated to an impressionist aesthetic that he inherited in part from his father, the painter Pierre-Auguste Renoir—an aesthetic that also brought him artistic and ideological uncertainties. Renoir intended mainly to push film further toward full development of its own aesthetic through the fuller realization of an impressionist aesthetic, the immediacy, subjectivism, and immersiveness that had for some time seemed best able to assert film’s unique claim to artistic excellence. But the problem of impressionism—its uncertain way of resolving perceptual differences—threw him back upon older theatrical and pictorial modes. It is finally the problem of such inconsistencies that give La Règle du jeu its major claim to modernism.","PeriodicalId":274644,"journal":{"name":"A Modernist Cinema","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128508526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A Modernist CinemaPub Date : 2021-09-30DOI: 10.1093/oso/9780199379453.003.0005
Richard Begam
{"title":"From Automaton to Autonomy","authors":"Richard Begam","doi":"10.1093/oso/9780199379453.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780199379453.003.0005","url":null,"abstract":"This essay considers Fritz Lang’s Metropolis (1927) in relation to Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction” (1936) and the writings of two other Frankfurt School critics—Theodor Adorno and Siegfried Kracauer. Anticipating the larger argument of Benjamin’s essay, the film situates its central conflict around the “auratic” (as represented by Maria’s Christianity) and the “mechanical” (as embodied by Joh Fredersen’s technology). This conflict is crystallized by the robotic Maria, who is an exact duplicate of the real Maria. The essay highlights Adorno’s correspondence with Benjamin, examining how Metropolis itself engages with the positions these critics take on mechanical reproduction in film. Especially relevant in this regard is Kracauer’s classic study of German cinema, From Caligari to Hitler (1947), a book that levels against Lang the charge that Marxism often levels against modernism: its formalism mystifies its politics. The essay concludes with an analysis of the flood scene from Metropolis, demonstrating that the film’s formalism is not merely “ornamental”—as Kracauer claimed—and that for Lang political autonomy is inextricably linked with aesthetic autonomy.","PeriodicalId":274644,"journal":{"name":"A Modernist Cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129962723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A Modernist CinemaPub Date : 2021-09-30DOI: 10.1093/oso/9780199379453.003.0002
Enda Duffy, Maurizia Boscagli
{"title":"Giovanni Pastrone’s Cabiria, Gesture, Modernism","authors":"Enda Duffy, Maurizia Boscagli","doi":"10.1093/oso/9780199379453.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780199379453.003.0002","url":null,"abstract":"Giovanni Pastrone’s epic Cabiria—not least because of its most famous technical innovation, the tracking or “Cabiria shot”—is a film preoccupied by gesture. In Cabiria the stylizations of human movement are central to the film’s establishment of a modernist vision of Italy in the context of an increasing technological interest in the analysis of human movement. Where modernism across all genres attends to gesture, from Edgar Degas’s dancers to the gait of Virginia Woolf’s Mrs. Dalloway, Cabiria does so with a modernist technology of the gaze that is now able to represent gesture in “real time.” Cabiria—which introduced both the lateral movement of the camera and the gesture later adopted by Benito Mussolini as the fascist salute—explores how such gestures situate the historical subject, and the historical crowd, in relationship to structures of political power.","PeriodicalId":274644,"journal":{"name":"A Modernist Cinema","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114701112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A Modernist CinemaPub Date : 2021-09-30DOI: 10.1093/oso/9780199379453.003.0009
Tyrus H. Miller
{"title":"Intervals of Transition","authors":"Tyrus H. Miller","doi":"10.1093/oso/9780199379453.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780199379453.003.0009","url":null,"abstract":"Like other modernist artists in their media, Dziga Vertov sought a new language of cinema that would expand the intrinsic technical, communicative, and social capacities of the medium. His 1929 masterpiece, The Man with a Movie Camera, brings these aspirations to bear on film with a maximum of intensity. Vertov programmatically asserted that cinema should develop according to its own material laws and sought in The Man with a Movie Camera to employ a “100 percent film language.” He also intended his film as a manifesto of cinema’s critical place within Soviet life in the 1920s, highlighting the process of film production and reception itself. Vertov embraced the chaos of potential meanings in film material drawn from “life caught unaware”; while he saw his compositional activity as giving form to that chaos, he left substantial latitude for an open-ended generation of meanings, respondent to different situations and audiences.","PeriodicalId":274644,"journal":{"name":"A Modernist Cinema","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114814390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A Modernist CinemaPub Date : 2021-09-30DOI: 10.1093/oso/9780199379453.003.0003
M. North
{"title":"D. W. Griffith’s Intolerance and the Ever-Present Now","authors":"M. North","doi":"10.1093/oso/9780199379453.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780199379453.003.0003","url":null,"abstract":"D. W. Griffith once claimed that film introduces the viewer directly to the present. Yet his own innovations tended to break up that present by multiplying points of view and cutting back and forth between separate narrative lines. Particularly in Intolerance, cutting between the four storylines of the film establishes a single, oddly distended present in which all four follow the same path, though it is also clear they are widely separated in historical time. With his motif of the “cradle endlessly rocking,” Griffith claims that this present is both instantaneous and eternal. For him, the relationship between the visual image and historical time is immediate, with no need for any of the adjustments of representation. In this belief, he resembles certain literary modernists, who also gambled that the isolated image could lead immediately to logical and historical generalities.","PeriodicalId":274644,"journal":{"name":"A Modernist Cinema","volume":"336 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122539010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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