Cinéma brut.
- Eine alternative Genealogie der Filmavantgarde
Autor*in
Verlag, Ort, Datum
Springer/edition angewandte, Wien, New York (Österreich), 2010
Schlagwörter
Medienforschung, Kunstwissenschaften, Avantgardefilm, Purismus, Experimentalfilm
Publisher's Announcement
The history of avant-garde film has too long been written under the modernist signs of medium specificity and purism; the material properties of the medium itself – film strip, projector, camera, and screen – have dominated film theory. But what are we to do with films that reject the usual tools of filmmaking – films made without the use of a camera, films made of found footage, and those that expand the limits of the film “performance” beyond what takes place on the screen? These three types of film refuse the notion of cinematic purity and embrace instead an impure – raw, brute – aesthetic. Furthermore, these films have a long – and long-neglected – history of their own, one that in this post-medium-specific era needs to be told. In “Cinéma Brut” Gabriele Jutz presents an “alternative genealogy“ of avant-garde film that should be of great interest to art historians, film theorists, and students alike. By first establishing a theoretical foundation to the notion of “cinema brut” and then providing close readings of key films and film practices from early cinema to the present, Jutz makes a stunningly original contribution to avant-garde art and film studies.
Sprache, Format, Material, Ausgabe/Auflage
Deutsch, 800