The Filming Of Modern Life: European Avant-garde Film Of The 1920s

Paperback | September 13, 2013

byMalcolm Turvey

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In the 1920s, the European avant-garde embraced the cinema, experimenting with the medium in radical ways. Painters including Hans Richter and Fernand Léger as well as filmmakers belonging to such avant-garde movements as Dada and surrealism made some of the most enduring and fascinating films in the history of cinema. In The Filming of Modern Life, Malcolm Turvey examines five films from the avant-garde canon and the complex, sometimes contradictory, attitudes toward modernity they express: Rhythm 21 (Hans Richter, 1921), Ballet mécanique (Dudley Murphy and Fernand Léger, 1924), Entr'acte (Francis Picabia and René Clair, 1924), Un chien Andalou (Salvador Dalí and Luis Buñuel, 1929), and Man with a Movie Camera (Dziga Vertov, 1929). All exemplify major trends within European avant-garde cinema of the time, from abstract animation to "cinéma pur." All five films embrace and resist, in their own ways, different aspects of modernity.

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In the 1920s, the European avant-garde embraced the cinema, experimenting with the medium in radical ways. Painters including Hans Richter and Fernand Léger as well as filmmakers belonging to such avant-garde movements as Dada and surrealism made some of the most enduring and fascinating films in the history of cinema. In The Filming ...

Malcolm Turvey is Professor of Film History at Sarah Lawrence College and an editor of October. He is the author of Doubting Vision: Film and the Revelationist Tradition.

other books by Malcolm Turvey

Format:PaperbackDimensions:232 pages, 9 × 7 × 0.44 inPublished:September 13, 2013Publisher:The MIT PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0262525119

ISBN - 13:9780262525114

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The Filming of Modern Life incisively challenges conventional accounts of avant-garde film theory and practice in the 1920s. In readings both subtle and historically astute, Malcolm Turvey unpacks conceptual ambivalences that animate five canonical films in individual essays, each a model of lucid critical writing and perfectly gauged for seminar discussions. He raises provocative questions that will reignite consequential debates even as they reaffirm the complex ethos informing classical modernist cinema.