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Violence and Miscegenation in Jean Toomer‘s ‘Blood- Burning Moon’
Allan Borst

Jean Toomer‘s Cane (1923) has long been considered a signature text of both avant-garde Modernism and the Harlem Renaissance. While Gothic tropes and imagery lurk throughout Toomer‘s collection of poetry and prose, Anglo-American Gothic conventions come to the foreground in the story ‘Blood-Burning Moon’. The story‘s interracial love triangle provides a locus of conflict between the post-Reconstruction American South and the haunting economic logic of slavery. Though the three characters each aspire to new racial, sexual and economic identities, they are terrorized by a society where employer-employee relations cannot escape the violence of the master-slave dialectic. Toomer does not relinquish his aesthetic experimentation and political radicalism to the Anglo-American Gothic, but instead engages the Gothic form in order to critique the violent racism of American capitalism. In this way, Toomer positions the Gothic centrally within African-American literary and cultural history.

Gothic Studies
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Rachel Moore

With the enormous span of time embedded in the very grain of the celluloid, old films and footage touch, in a sensate way, the strange and familiar longing for the archaic past which lies at the heart of the modern dilemma. Walter Benjamin‘s suggestion - that when delving into the secrets of modernity, including its technology, the archaic is never that far off - grows palpable when watching film from the archives. This project could just be called, ‘Why do we love old movies?’ To begin to grasp how old films touch us, its instructive to look at how technology functions within films. The power of degraded technology to create intimacy does not go unnoticed by filmmakers today where its use extends from the avant-garde to popular cinema. To further understand such effects, this paper focuses on one way technology provokes intimacy: how people fall in love in the movies.

Film Studies
An audionarratological analysis of Andreas Ammer and FM Einheit’s Lost & Found: Das Paradies
Jarmila Mildorf

Jarmila Mildorf Preliminary reflections: the avant-garde today In a survey article about German radio play productions in the 1990s, Knut Hickethier assessed Andreas Ammer’s work by saying that ‘Ammer was concerned with deriving pleasure from destroying old conventions and with quoting text in such a way that it becomes recognisable’ (‘es geht Ammer … um das lustvolle Zerschlagen alter Konventionen und das wiedererkennende Zitieren’) ( 1998 : 142). Both points certainly also apply to Lost & Found: Das Paradies , a radio piece which Ammer co

in Tuning in to the neo-avant-garde
K. J. Donnelly

3049 Experimental British Tele 16/5/07 08:02 Page 166 10 Experimental music video and television K. J. Donnelly The music video as an aspect of experimental or avant-garde television has received surprisingly little attention in the frequent and wide ranging discussions on the topic. This is particularly surprising since many of the techniques of the avant-garde became evident (and some filmmakers worked) in music video and profoundly altered the way that pop music appeared on television. Considerations of television still suffer from ocularcentric

in Experimental British television
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Effie Rentzou

This declaration is followed by a list of countries and regions enlightened by the new French poetry: Italy, England, Spain, Russia, Latin America, North America. Apollinaire’s opening up towards an international community of poets is intertwined with a deeply nationalist stance. One could imagine that this nationalist position was formed by three years of violent war; however, the conjugation of nationalism and worldliness marked the European avant-garde already before the war, and certainly Apollinaire’s writings. In 1917 Apollinaire appears certain of Paris

in 1913: The year of French modernism
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Elza Adamowicz and Simona Storchi

Introduction Elza Adamowicz and Simona Storchi Elza Adamowicz and Simona Storchi Introduction 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 over thirty manifestos, celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Italy, France, England and Russia, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. After

in Back to the Futurists
Siebe Bluijs

transformation and rearrangement of the material from the standpoint of popular relevance’ ( 2014b : 370). In this sense he envisioned a use of montage that differed diametrically from Arnheim’s understanding of the technique. In an earlier essay from the same year, ‘Theater und Rundfunk’ (‘Theater and Radio’), Benjamin brought montage in relation to the avant-garde movement of Epic Theater: Suffice it to say that the principle of Epic Theater, like that of montage, is that of interruption. Only here, interruption acts not as a stimulus, but as a pedagogical tool. It

in Tuning in to the neo-avant-garde
Towards the absurd
Neil Cornwell

narrative of Dowell, ‘that absurd figure, an American millionaire, who has bought one of the ancient haunts of English peace’ (GS, 161): ‘The Saddest Story’ had been intended as the book’s title; ‘the record of humanity is a record of sorrows’ in ‘a queer and fantastic world’ in which people are mere ‘shuttlecocks’ (GS, 133; 151; 160).21 Sympathetic to the visionary qualities of ‘Post-Impressionists’, Futurists and other footsoldiers of the avant-garde, the author of The Good Soldier offered much to budding absurdists, while the complexities of his delineation of

in The absurd in literature
Aesthetic integration and disintegration in Jean Epstein’s La Chute de la maison Usher
Guy Crucianelli

Introduction Adapted from Edgar Allan Poe’s story, ‘The Fall of the House of Usher’, Jean Epstein’s 1928 film La Chute de la maison Usher incorporates nearly all the major avant-garde trends of the previous one hundred years and interprets them through an early twentieth-century modernist sensibility. In its treatment of the artist in self

in Monstrous adaptations
Publics, protest and the avant-garde
Nick Crossley

I argued in Chapter 2 that social interaction is multivalent, such that musical interaction is often simultaneously also economic interaction, political interaction and has many other dimensions besides. Much of what has followed has unpacked and supported this claim. In this chapter, I return to it one final time by considering music's political dimensions. I begin by considering the political potential which Adorno identifies in avant-garde art music and revisiting, from a political perspective, his critique of popular music. Adorno's views

in Connecting sounds