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  1. Introduction to "Avant-Garde Film"

    QuellenartElektronische Volltexte & Multimedia>>Aufsätze aus Zeitschriften / Sammelbänden>>
    UrheberMacDonald, Scott
    Verleger Cambridge University Press
    Schlagworte FWFilmgeschichtsschreibung; Filmästhetik; Filmtheorie
    Beschreibung The mainstream cinema (and its sibling television) is so fundamental a part of our public and private experiences, that even when filmmakers produce and exhibit alternative cinematic forms, the dominant cinema is implied by the alternatives. If one considers what has come to be called avant-garde film from the point of view of the audience, one confronts an obvious fact. No one - or certainly, almost no one - sees avant-garde films without first having seen mass-market commercial films. In fact, by the time most people see their first avant-garde film, they have already seen hundreds of films in commercial theaters and on television, and their sense of what a movie is has been almost indelibly imprinted in their conscious and unconscious minds by their training as children (we learn to appreciate the various forms of popular cinema from our parents, older siblings, and friends) and by the continual reconfirmation of this training during adolescence and adulthood. The earliest most people come in contact with an avant-garde film of any type is probably the mid-to-late teen years (for many people the experience comes later, if at all). The result is that whatever particular manipulations of imagery, sound, and time define these first avant-garde film experiences as alternatives to the commercial cinema are recognizable only because of the conventionalized context viewers have already developed. Generally, the first response generated by an avant-garde film is, "This isn't a movie," or the more combative, "You call this a movie!?" Even the rare, responsive viewer almost inevitably finds the film - whatever its actual length in minutes "too long." By the time we see our first avant-garde films, we think we know what movies are, we recognize what "everyone" agrees they should be; and we see the new cinematic failures-to-conform as presumptuous refusals to use the cinematic space (the theater, the VCR viewing room) "correctly." If we look carefully at this response, however (here I speak from personal experience, and on the basis of more than twenty years of observing students dealing with their first avant-garde films), we recognize that the obvious anger and frustration are a function of the fact that these films confront us with the necessity of redefining an experience we were sure we understood. We may feel we know that these avant-garde films are not movies, but what are they? We see them in a theater; they're projected by movie projectors, just as conventional movies are... we can see that they are movies, even if we "know" they're not. The experience provides us with the opportunity (an opportunity much of our training has taught us to resist) to come to a clearer, more complete understanding of what the cinematic experience actually can be, and what - for all the pleasure and inspiration it may give us - the conventional movie experience is not." (Information des Anbieters; aus der Einleitung)
    Themen FWFilm>>Theorie, Methodik, Didaktik; Film>>Künstlerische Filmgattungen
    RVK FWAP 45000; AP 45100; AP 54000
    DDC FWPhilosophie, Theorie, Ästhetik; Historische, geografische, personenbezogene Behandlung
    geographischer BezugBehandlung nach Gebieten, Regionen, Orten im Allgemeinen>>
    zeitlicher Bezug20. Jahrhundert, 1900 – 1999>>
    Anmerkungen zur Ressourceaus: From Avant-Garde Film (Cambridge University Press, 1993)