Watching the red dawn charts the responses of the American avant-garde to the cultural works of its Soviet counterpart in period from the formation of the USSR in 1922 to recognition of this new communist nation by USA in 1933. In this period American artists, writers, and designers looked at the emerging Soviet Union with fascination, as they observed this epochal experiment in communism develop out of the chaos of the Russian Revolution and Civil War. They organised exhibitions of Soviet art and culture, reported on visits to Russia in books and articles, and produced works that were inspired by post-revolutionary culture. One of the most important innovations of Soviet culture was to collapse boundaries between disciplines, as part of a general aim to bring art into everyday life. Correspondingly, this book takes an interdisciplinary approach by looking at American avant-garde responses to Soviet culture across several media, including architecture, theatre, film, photography, and literature. As such, Watching the red dawn considers the putative area of ‘American Constructivism’ by examining the interconnected ways in which Constructivist works were influential upon American practices.
The avant garde is dead, or so the story goes for many leftists and capitalists alike. But so is postmodernism an outmoded paradigm in these times of neoliberal austerity, neocolonial militarism and ecological crisis. Rejecting ‘end of ideology’ post-politics, Vanguardia delves into the changing praxis of socially engaged art and theory in the age of the Capitalocene. Reflecting on the major events of the last decade, from anti-globalisation protest, Occupy Wall Street, the Maple Spring, Strike Debt and the Anthropocene, to the Black Lives Matter and MeToo campaigns, Vanguardia puts forward a radical leftist commitment to the revolutionary consciousness of avant-garde art and politics.
This interview took place on 8 September, 1976, at the London Filmmakers’ Coop,
Fitzroy Road, London. Frampton already had a reputation as one of the major
theorist-filmmakers of the contemporary avant-garde, although his work was
comparatively little known in Britain at this time.
In 1909, the Italian poet Filippo Tommaso Marinetti's Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912, the Futurists published works celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Europe, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. This book reassesses the activities and legacies of Futurism. It looks at Futurist manifestos by linking techniques of promotion with practices in commercial advertising, and exploring the question of how Futurist manifestos address notions of genius and gender. The book also reconstructs the historical, cultural and ideological background of Marinetti's Manifesto del tattilismo. Zurich Dadaists adopted cultural stances heavily indebted to the terms of critical engagement and cultural visibility initiated within the Futurist circle. The book analyses avant-garde's examination of its internal strategies of identity and canonization, and the importance of Futurism for the Pierre Albert-Birot. It charts the details of the argument on simultaneity between Umberto Boccioni and Robert Delaunay, and analyses the critical readings of Fernand Léger's La noce. The dialogue between Occultism and Futurism is explored by discussing the theme of night in the works of the Florentine Futurists. In La cucina futurista, food is separated from its nutritional function, and the act of eating is related to notions of creativity and identity. The book presents unique examples of innovative expressivity in Italian Futurists' free-word poems, and examines poetry celebrating the triumph of modern aviation.
Chantal Akerman was one of Europe's most acclaimed and prolific contemporary directors, who came to prominence with Jeanne Dielman, 23, quai du Commerce, and 1080 Bruxelles. Her family history is intimately bound up with the horrors of the Holocaust. Akerman was born in Brussels on 6 June 1950, the first child of Jewish Polish immigrants who settled in Belgium in the late 1930s. Filmmaking, for her, was an imaginative and creative engagement with the silence that weighed heavily on her childhood. Behind the multiple guises of Akerman, this book seeks to present a cinema that crystallises questions that are at the heart of our post-war, post-Holocaust, post-feminist sensibility. It identifies the characteristics of her avant-garde work of the 1970s, the period most closely influenced by American structuralist film and performance art. The book surveys her work in the following decade in the context of post-modernism, the new aesthetic of kitsch and the emergence of a new hedonism in Western critical discourses. It is dedicated to her documentary work of the 1990s and 2000s, which sheds light on the central ethical and aesthetic concerns behind her work. The book discusses her attempts to penetrate into the mainstream, her renewed engagement with the themes of love and desire, and her further exploration of the permeable boundaries between autobiography and fiction. What emerges forcefully in Akerman's cinema, is a persistent engagement with the forms and conditions of human existence.
Jean Epstein, born in Warsaw, was raised in Switzerland, but it was Brittany where he made some of his best films. He was famous yet misunderstood, original yet held to be idiosyncratic and poetic to a fault, consistently referred to by most critics as a key theoretician. Using familiar genres, melodramas and documentaries, he hoped to heal viewers of all classes and hasten social utopia. This book offers the first comprehensive introduction to and preliminary study of Epstein's movies, film theory, and literary and philosophical criticism in the age of cinema. Diluted into a single word, photogénie, his aesthetic project is equated with a naïve faith in the magic power of moving images, whereas Epstein insistently articulated photogénie in detailed corporeal, ethical and political terms. While Epstein scarcely refers to World War One in his writings or film work, it is clearly from this set of urgent questions that he began reflecting on art and literature. The New Wave movement in France in the late 1950s, put melodrama and avant-garde together feels oxymoronic if not sacrilegious. Epstein's filmography contains roughly an equal number of films that can be labelled fiction and documentary, a little over twenty, in each category. Epstein has opened the way for a corporeal cinema predicated on cinematography and montage rather than narration and mise-en-scène. Epstein's work in cinema, film 'theory', and philosophy, offers today a surprisingly contemporary set of movies, cinematographic idioms, and reflections on all the phenomena of cinema.
From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.
Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms. Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.
The machinic city investigates the role of performance art to help us reflect on contemporary urban living, as human and machine agency become increasingly intermingled and digital media is overlaid onto the urban fabric. This is illustrated by several case studies on performance art interventions from artists such as Blast Theory, Rafael Lozano-Hemmer and Rimini Protokoll, which draw from a rich history of avant-garde art movements to create spaces for deliberation and reflection on urban life and to speculate on its future. As cities are increasingly controlled by autonomous processes mediated by technical machines, the performative potential of the aesthetic machine is analysed, as it assembles with media, Capitalist, human and urban machines. The aesthetic machine of performance art in urban space is analysed through its different – design, city and technology actants. This unveils the unpredictable nature and emerging potential of performance art as it unfolds in the machinic city, which consists of assemblages of efficient and not-so-efficient machines. The machinic city pays particular attention to participation, describing how digitally mediated performance art interventions in urban space foreground different modes of subjectivity emerging from human and machine hybrids. This highlights the importance of dissensus as a constitutive factor of urban life and as a means of countering machinist determinism in present and future conceptualisations of city life.
Álex de la Iglesia, initially championed by Pedro Almodóvar, and at one time the enfant terrible of Spanish film, still makes film critics nervous. The director of some of the most important films of the Post-Franco era – Acción mutante, El día de la bestia, Muertos de risa – de la Iglesia receives here a full-length study of his work. Breaking away from the pious tradition of acclaiming art-house auteurs, the book tackles a new sort of beast: the popular auteur, who brings the provocation of the avant-garde to popular genres such as horror and comedy. It brings together Anglo-American film theory, an exploration of the legal and economic history of Spanish audio-visual culture, and a comprehensive knowledge of Spanish cultural forms and traditions (esperpento, sainete costumbrista) with a detailed textual analysis of all of de la Iglesia's seven feature films.