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Andrew Dix

technical nous to compose stories, they emerge instead as contributions to an alternative film aesthetic. Although it is true that from the first decade of the twentieth century onwards narrative film became dominant in the United States, England and elsewhere, this should not lead to the conclusion that the cinema of attractions or the aesthetic of astonishment was simply superseded; rather, as Gunning writes, it ‘goes underground, both into certain avant-garde practices and as a component of narrative films, more evident in some genres (e.g. the musical) than in others

in Beginning film studies (second edition)
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Glenn Gould’s contrapuntal radio
Adam J. Frank

variety of critical writing on Gould, briefly locates his work in the contexts of European and North American avant-gardes (Theodor Adorno, Walter Benjamin and Marshall McLuhan), and summarises materialist criticism of Gould’s radio work before offering a more phenomenological approach to the studio as a way to bridge aesthetic and political readings of counterpoint. The second section listens closely to ‘A Glenn Gould Fantasy’ to locate the studio as a space of fantasy in the sense that object-relations theory understands that concept. 2 The studio, I argue, offered a

in Tuning in to the neo-avant-garde
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Soviet montage and the American cinematic avant-garde
Barnaby Haran

3 Kino in America: Soviet montage and the American cinematic avant-garde Alongside the radical Constructivism of the New Playwrights Theatre, the American avant-garde’s most sympathetic engagement with Soviet revolutionary culture was in cinema. If the innovations of Vsevolod Meyerhold’s Constructivist theatre stimulated the NPT, then the development of cinematic montage by his protégé Sergei Eisenstein, alongside Lev Kuleshov, Dziga Vertov, Vsevolod Pudovkin, and Alexander Dovzhenko, had an analogous impact upon American avant-garde cinema. The Soviet film

in Watching the red dawn
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Chari Larsson

implicit teleology. The anti-Hegelian sentiment in France is usually attributed to the generation of philosophers who came to prominence in the 1960s. Didi-Huberman, however, detects an earlier moment exhibited in the great montage projects of German avant-garde writers and theorists of the 1920s and 1930s. Like Derrida’s reading of Georges Bataille before him, Didi-Huberman avoids a direct confrontation with Hegel. 34 Instead, he elects to engage Hegel through the lens of German avant-garde writers and theorists: Walter Benjamin and Aby Warburg. Both had developed a

in Didi-Huberman and the image
The Books of Blood and the transformation of the weird
Kevin Corstorphine

particular trend, when he is a resolutely unfashionable author in outlook, even when fashion happens to coincide with this vision. Although he acknowledges the literary Gothic (Poe perhaps foremost), Barker's background is grounded in the theatre, and again the influence of the French avant-garde shows itself in his love of the Parisian Grand Guignol of the early twentieth century

in Clive Barker
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A reading of Charles Olson’s ‘The Lordly and Isolate Satyrs’
Stephen Fredman

familiar and dangerous, harbingers of emergent powers (the dead, the Fathers) that Olson must take account of personally and as a watchman for society at large. In its first publication, ‘The Lordly and Isolate Satyrs’ itself acted as a harbinger of Olson’s pivotal role in postwar American avant-garde poetry, leading off the fourth issue of Evergreen Review. By virtue of the journal’s fame and wide circulation and the prominence of the poem in this issue, it was, in Ralph Maud’s words, ‘Olson’s most conspicuous publication to that date’ (SL, 273).13 A pioneering literary

in Contemporary Olson
Angela Carter’s marionette theatre
Marie Mulvey-Roberts

rough theatre, which is frequently aimed at children. However, in the early twentieth century the European theatrical avant-garde was drawn to puppetry as a counter-practice to the dominant paradigm of naturalism, and it is this avant-garde counter-practice, as well as demotic puppetry traditions, on which, this chapter will argue, Carter draws. Carter’s marionette theatres There are two depictions of puppetry in Carter’s oeuvre: Uncle Philip’s basement marionette theatre in her second novel, The Magic Toyshop (1963), and the Asiatic Professor and his marionette, Lady

in The arts of Angela Carter
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Guy Austin

‘Un homme et son métier’. 9 For him, directing is a job which can be demystified from the auteurist/ Romantic idea of it. His concept of cinema privileges the spectator as well as the creator – hence the importance of genre in his work, since it is often via the expectations aroused by popular genres that a spectator approaches a given film. Rejecting the avant-garde and the experimental, Chabrol chooses (even when he

in Claude Chabrol
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New York 1917
Dafydd W. Jones

photographs of machines, railroads, boxers, and storefront windows’.26 To precede ‘Arthur Cravan vs. Jack Johnson’, Coady published a fullpage portrait photograph of Cravan (reposing inside his and Renée’s Paris apartment on avenue de l’Observatoire, c.1914). This formally presented the fine specimen Cravan to the New York avant-garde community. The interview describing his fight with Johnson was read, and his portrait was studied, with interest and intrigue. The most significant response undoubtedly belongs to the New York Sun’s prototype ‘Modern Woman’, the poet Mina Loy

in The fictions of Arthur Cravan
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John Phillips

this New Novelist’s initial active engagement with the third art in writing the script for Alain Resnais’s L’Année dernière à Marienbad , asking to what extent this icon of avant-garde European cinema may be considered a ‘Robbe-Grillet’ film, and how it prepared him for the rest of his film-making career. This, therefore, will be the subject of Chapter 1 . 41 References

in Alain Robbe-Grillet