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By Pavle Levi

Cinema via different Means explores avant-garde endeavors to perform the cinema through the use of the fabrics and the strategies various from these mostly linked to the cinematographic equipment. utilizing examples from either the ancient and the post-war avant-garde -- Dada, Surrealism, Letterism, "structural-materialist" movie, and extra -- Pavle Levi unearths a variety of extraordinary and imaginitive ways that filmmakers, artists, and writers have contemplated and created, played and reworked, the "movies" without or with without delay grounding their paintings within the fabrics of movie. The learn considers artists and theorists from all over the place Europe --- France, Italy, Soviet Union, Germany, Hungary -- however it relatively foregrounds the context of the Yugoslav avant-garde. Cinema via different Means bargains the English-language reader a radical explication of an collection of exceedingly Yugoslav inventive phenomena, similar to the Zenithist cine-writings of the Nineteen Twenties, the proto-structural Antifilm stream of the early Nineteen Sixties, and the "ortho-dialectical" film-poetry of the 1970s.

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26. 27. 28. 29. 30. Aleksić’s demise in 1958, his complete archive of Yugo-Dada used to be irretrievably misplaced. It used to be discarded as refuse—buried lower than tons of waste at Belgrade’s primary rubbish depository. Jacques Lacan, Seminar XX (New York: W. W. Norton, 1995), forty nine. In her essay “De Stijl, Its different Face: Abstraction and Cacaphony, or What was once the problem with Hegel? ,” Annette Michelson phrases sound poetry “cacaphony” (after “caca,” the note utilized by kids to consult excrement, waste). Friedrich A. Kitt ler, Discourse Networks (Stanford: Stanford college Press, 1990), 212. Marcella Lista, “Raoul Hausmann’s Optophone: ‘Universal language’ and the Intermedia,” The Dada Seminars, ed. Leah Dickerman with Matt hew S. Witkovsky (Washington: The nationwide Gallery of artwork, 2005), ninety three. Dragan Aleksić, “Tatlin. HP/s + Čovek,” Zenit no. nine (November 1921): eight. Ibid. , 8–9. Dragan Aleksić, “Beograd, fi lm, fi lmski Beograd i beogradski fi lm,” Beogradski filmski kritičarski krug I (1896–1960), ed. Ranko Munitić (Niš: NKC paintings Press, 2002), 77–78. bankruptcy 2 1. guy Ray, Self Portrait (Boston: Litt le, Brown and corporate, 1963), 232. 2. See Louis Aragon, “On Décor,” and André Breton, “As in a Wood,” within the Shadow and Its Shadow, ed. Paul Hammond (San Francisco: urban lighting Books, 2000), 50–54, 72–77. three. Kovács, From appeal to Rage, 151. four. guy Ray, “Cinemage,” The Shadow and Its Shadow, 133. five. Jonathan Walley, “The fabric of movie and the belief of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film,” October 103 (Winter 2003): 18. 6. Walley, “The fabric of Film,” 26. Filmmaker and theorist Alexander Kluge made a similar declare within the overdue Seventies: “[F]ilm takes recourse to the spontaneous workings of the resourceful school which has existed for tens of hundreds of thousands of years. because the Ice Age nearly (or earlier), streams of pictures, of so-called institutions, have moved in the course of the human brain, triggered to a point via an anti-realistic att itude, through the protest opposed to an insufferable fact. they've got an order that's prepared via spontaneity. Laughter, reminiscence, and instinct, rarely the made of mere schooling, are in keeping with this uncooked fabric of institutions. Th is is the more-than-ten-thousand-year-old-cinema to which the discovery of the fi lm strip, projector and display simply supplied a technological reaction. Th is usually explains the actual proximity of fi lm to the spectator and its 163 N O T E S TO PAG E S 29 –32 7. eight. nine. 10. eleven. 12. thirteen. 14. 15. sixteen. 17. affi nity to adventure. ” Alexander Kluge, “On movie and the general public Sphere,” New German Critique 24/25 (Fall/Winter 1981–1982): 209. Walley, “The fabric of Film,” 23. significantly, Walley too seeks aid for his “dematerialization” thesis in a few of Sharits’ paintings. Walley, “The fabric of Film,” 24. László Moholy-Nagy, portray, images, movie , 26. Moholy-Nagy, portray, images, movie, 27. round 1921–1922, Russian avant-gardist Velimir Khlebnikov equally wrote: “Art habitually uses hope within the technology of wielding energy.

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