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Guy Austin

pioneer of ‘impressionist’ cinema or ‘the first avant-garde’ in the 1920s (see chapter 1 ). Dulac, however, was the exception, and women were generally on the other side of the camera in classical French cinema. In the immediate post-war years, women – now granted the vote – were largely restricted to filming documentaries and shorts, although Jacqueline Audry specialised in literary adaptations during the forties and fifties

in Contemporary French cinema
Leah Modigliani

of cinematographic photography in the 1980s and 1990s with earlier Cibachromes made by Jeff Wall in 1978; a historical dating that retroactively aligns specific Vancouver photographers (even artists younger than Wall and Wallace) with American critics and art historians’ claims that photography was poised to take on the mantle of a seemingly irrelevant avant-garde in the late 1970s. Reconsidering the continuities that exist between the late 1960s and late 1970s is an act of intervention that seeks to open new historical territory that can recuperate the displaced

in Engendering an avant-garde
Leah Modigliani

, which had been established earlier 23 2  24 Engendering an avant-garde through the creation of and subsequent writing about Wall’s conceptual artwork Landscape Manual. Positively influenced by precedents set by American conceptual artists Ed Ruscha, Robert Smithson, and Dan Graham, and negatively inspired by British Columbia’s long history of Expressionist landscape painting, young artists favoured commercial and industrial scenes that amplified the alienation of the subject within Capitalism. On the other side of the wall, hung facing the interior of the gallery

in Engendering an avant-garde
Fashion and protest
Ory Bartal

protesting one and explained that this fashion helps his ­customers to escape from reality.19 Thus the kawaii culture ended up supplying its believers with a fantasy, an escape from life and from the traditional Japanese cultural codes through appropriation of French historical style and children’s fairy tales.20 COMME des GARÇONS and the avant-garde fashion A different form of protest via clothes was evident in the deconstructive fashion of Rei Kawakubo, which represents the complexity of the new avant-garde visual culture. It was based on a new conceptual platform that

in Critical design in Japan
Marc James Léger

The most helpful definition of avant-garde art we have today, one that is adequate to contemporary forms of socially engaged art and to the global political economy of culture as we know it, is that proposed by John Roberts in Revolutionary Time and the Avant-Garde . 1 While Roberts’ theory has some affinity with Jacques Rancière’s work in the sense that he first distinguishes between the ontology of art and the heteronomy of non-art, he further proposes that art’s worldly materials are part of art’s ‘ontology of conceptualisation

in Vanguardia
Spiritualist phenomena, Dada photomontage, and magic
Leigh Wilson

Pierre Apraxine and Sophie Schmit, acknowledges the important effect that avant-garde theory and practice have had on the collecting and valuation of spirit photographs from the nineteenth and early twentieth centuries.5 However, despite this acknowledgement, the exhibition and accompanying catalogue mark a rejection of a formalist approach: To consider only the aesthetic qualities of these images, to disregard the original motives for their production, ignoring the environment in which they were produced and removing them from their documentary context, is to risk

in The machine and the ghost
Abstract only
The multiple faces of Chantal Akerman
Marion Schmid

with the most original of creative writing. In interviews, she deliberately avoids aligning herself with any cinematic tradition or movement, but has nonetheless given some clues to her preferences in terms of film style. As we will see, she is deeply indebted to the American avant-garde of the 1970s, but she also mentions fellow European directors Eric Rohmer, Jean Eustache and Rainer Werner Fassbinder alongside Godard as

in Chantal Akerman
Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter
Debra Kelly

prominent artistic movements, holding ‘isms’, ‘ists’ and ‘ismisme’, as he referred to them, in little regard, as the epigraph here demonstrates. He preferred to pursue his own rigorously individual path, and has consequently suffered at the hands of the chroniclers of literary and artistic history. However, for a period between 1916 and 1919 – therefore mainly during the First World War – he occupied a position at the very heart of the Parisian avant-garde and its continued experimentation in art and literature. His own poetics during this period develops with, for

in Back to the Futurists
Sam Rohdie

Of all Eisenstein’s films Strike retains best of all the promise and mutual interests of the Russian cultural avant-garde and of the Bolshevik political revolution. Strike is both a great film of European modernism and a testament to the energies and hopes of the Bolshevik Revolution. Before Eisenstein made Strike in 1925, he had worked for some years after the Revolution in theatre

in Montage
The bearded lady, displacement and recuperation in Apollinaire’s Les Mamelles de Tirésia
Stephen Thomson

in any way compromised by it. The iconic prominence of Dali’s own whiskers and his possible standing as something of a bearded lady are, of course, out of the question. In this chapter, I will explore the currency of this figure in late nineteenth- and early twentieth-century French literature. In particular, I will examine ways in which that currency is caught up in techniques of unexpected juxtaposition and displacement associated with avant-garde movements of the period, in particular Surrealism and Dada. The bearded lady is indeed

in The last taboo