DISCOVERING PURE CINEMA: avant-garde film in the ’20s BY JAN-CHRISTOPHER HORAK In the 19208 there developed for 's) cinema, Two maj for played 2 ol nthe avr ‘and aesthetics, i.e, the notions of the mediur’s ossibiies. The work ofthe avant gare faroe birt, ecenor ‘gait established strutires in both Word War prevaiing economic structure, characteried, ast were, By Independent producer arto, cheap and simpy for mostly working dass audience. By the 20s these exgarment workers tuned producers had Created manapoiste tlm cxportens (lor example, MGM (Coos. Mayer or UFA (Pau Davidson all sectors of he fir market: precucton, distibuton, and feahbion. Wit rising co, the fm magnat eae: si or Bkagna Symphony (1228, by Vig Eagle. Slow rom Ema fest time what was erods, avantgarde (205), 0 wha produces tation they had prevousy encourage, ating st Set of easy understood narra codes. In the foo melodramatic “photoplays” that ed, pesple soon forgot tat the prewar cinema already ha invents every tegincal code offi, cluding close-ups, moving camer, paralel and associative mortage, color. and sound. By Gecovecing the language, ie, mike css atts and telectals oped to eevate the ew med to the satus of ar, and this wrest the muse from the hands of he fur "ers Sam Goldnyn and Co. a group of Frencn fimmakers and eis, the so-called fs rant gede or Impressions! schoo)" incuding Luis Dele, Germaine Dulee, Abel Gance, Marcel Leber, hotogerie” (Del), that ese ambiance connscted 1 2 certain locale ot human emai, With few excerons, though, for evarle, Delix’s Flere (1921) of Abe Genee’s La Rove (1922), the work of he fist vart-garce was characterized by a vey romantic, gauze and og fitered vison, leer in spilt 1 the prewar Photo Seossson andthe nanave conventions of melowama, in direct opposton fo these fimmakers @ second avant Only to dstance Hse fram the impressnsm of its Predecessor, but at acca aller narative and ua Structures. Hervi Chomette, René Clas orther, developed ns conceal of "nea pr," pking he wiz. Here the camera and the material of fim were to bein Bemenedconssiousy to create never beer seen rages Erreme camera anges, ose, fast and sow rotor hegatve sequences, abstact srimaton, mute ex posure, hond-clorng, aed raid eciing were the favre Codes used by eindma pur fimmakers The emphasis on ral cnr srctutes characterize te avant-arces fins, regardless of the gwen which the fimrakers While seme eade purely attract fms, others tmed pope Socumentares, and sti cher tlempd to capture reams or scenic expenments anf. Te raical Ger man wie, Peter Wes, wrote ta respective desc fon, "They waned To create visors stead of lstratons Often thelr works remained. halt successtul formals jbovatory experiments at eet times hey managed to Create 9 new, purely cremate word” Each firmaker ‘tenths own 3) nd ony 2 momentary common itrest Studios, where cleciveerdeoa became stn, the ort garde worked grate eiaton. Abert Cavlcant ~ hat tery, "We hated each ther. The ‘anguage tat haat be sous, rat nad to be‘Afterimage/Summer 1980 2 Hom Emak Batis, Many,bates seem ultimately unimportant Consists of white ine forms canered ina black rame, which evoive ard desove 2 ‘sofes of symphoncaly” composed cures. andes ‘resembling musica notation. Eageing’s theory f “orm tiphabet,” based onthe notion of polarity and aniogy, oh tempts to each metapryicl Gmensons* louse fis animated formations. are sequently ordered "0 visualize chthm, ‘painting in moon, a sytagmate lege to use aterm em semilogica fim they ot eve ent in practice. The same can be said of Reker Rhythmus 21 and 23, both undoubted conceved uncer thelinflonce of Egelng’s theories. While Egelng’s bate formal unt the tne, Renter uses black, white nd grey recangles, which grow and diminish in size, puting ttythmicaly the an arimated Mondrian painting, wthout, however, deplaying the syrehvonic dimension Mondrian acieved through his use of calor. Desai the theereticl Cersiruct, then, these fms can only be perceved 28 abstract form experiments, not atems to connate mean a A fist viewing one suspects that Rutmanns Opus HV ‘must be 166d siilary. The fim open with painted wave ke frms moving rom the top tote bao othe tare (Opus , dissohving into pusaing cles which code with fying arrows and comet ‘ike shapes in a continual ebbing 20d lowing ttm (Opus. In’ Opus I rurdod. Sometimes dropike forms appear to be attack by Severe, anguar lines and shapes, Opus IV begs in ant ‘equaly hectic manner, with horzntal nes scveung 9 veneion-bind effect ‘but ends quety ‘wth, anmated avs, which dsove into matched cut otreal waves, The temptation the viewer unsuccessuly asst, tat of a. tnuting ines meaning to abstract shapes, tus seems lusiled in the end. Ruttmann seems te fascinated by the formal interplay between abstract and natural forms, The fist (now lst) handenored copies of Opus. HV strerthen sucha reading, since Rutimann soparenty us (0 clr in these as a ratralste code sagittal see seston arose line. Shapes tke usr rests. Arad sun eae rund re ame, 9a (red seam mos asf treating. Caesar case ards the cater, waves tlw and leap. The messmo hs a. ‘has spetoc the Sean > ‘This movement away trom absolute abstraction also Fetrgushes Riche's Film Study (1925). Here Richer ‘chores the thee dimensionaity sought in his ear fis by fining eyeball tke shapes which appear to rll trough space. But lchter’s fl also moves away om ure abstacton by including shots of human heads fn'3 ontnuousydsolieg montage and sts of man pour ‘ing a stave in negative mage), Flim Study hos Borders sn enema pur Wile Richter as back on antrepomerphism to achieve three dimensional, Marcel Duchamp fds 2 ferent solution in Andmie Cinéma (1926) Using hyena spate ‘and de-centered, rotating eicles, Duchamp achieves the Pajhologcaliluson of tee dmensinal space without foresohng abstraction. Abstraction per se, however, does rot seem to have fascinated Duchamp, but rater the Scientc aspects dealing with optics and ei perceton The spralig tiles, conssting ef phonetic word pays, a 3 metaphysical cimension Cinéma Pur Both Ruttmann and Richter soon turned away tem abstract fis Eggs sia in 1925), propa os 9 result (of her contac th cinema pur Thr abhorrence of eon Vertional narrative forms, as wel as thet wish fo create nonionic images, led the nema purists to teat realty as more than ncidenal raw mate Important was the rma of technica fim codes, which alowed for modes of Becton possibie nly trough cinema, Fim a 2 widow on tho wold was rejected prior. Though the ue of non. ‘eal fim codes, the elatonship between aimed object and its signification was to be desvoyed. As Leger noted, "The pubic need never know thatthe iy ie eft of light in many forms, that so delights ts nohang but an aumioum saucepan," At the same time, eindma pur incorporated @ heathy anarchism, revolt against he Supposed ralonaly trade tional notions oat The premedtated dytuctonalty of ‘nematic codes, used to create an antdealitc and ana hse dsorderng of val perception, wae ealedsted to shock audiences into accepting new ways of seeing. The avantgarde’ eet occured on a mre oles frmaltic level, and was ths easly co-opted into mainstem cature ‘once te novelty wore of Lego’s Ballet Mécanique, Man Ray's Emak Bakia (1827), Chomete’s Jeur des Retlets et de la Vitesse (1925), as well as Chaves Oeteukeae's Impatience (0928), display ve action’ scenes abstacted trough vatiousparacigmas and syrtagmas to crate patterns of ght, form, anc eth ‘Ballet Mécanique arc Emak Baki ae closely rated in ters of ther construction and recurring use of certain fim cose. The rs, the creator maint, are 3 "more or ess logical sequonce of ideas” (Man Rap, subjugeted by 3 mathematical precoe foe, a= prec as possbe ‘umber, speed, and time" (Lager Yet the overal sy tagm seems rather random in Both cases, Both fms ae concerned with attempting to create moton, ether by animating inanimate objects through sop: motion hotesraphy, or by moving the camera: in Emak Baka Cubes ae animated, whe other shots are fied fom 3 moving car i Ballet Mécanique funnels snd tes ance and camera fies back are forth to sma the fecing of a worian Seen ia prior sno swinging Moton also tnd sypchonicaly through enrere close-ip of pistons Ballet and sprang shadows (Emak). Fly me tion ses analyzed eiaconicaly trough tho repetitive "montage of a washerworan walking up steps (alle), anc ‘a woman climbing fom 3car (Ema) Bath fms thus reject ‘eonic connotation in aver of ingen sigiicationo lah, "thm, ana maton. Chomete’s Jeux des Relets et de la Vitesse and Dekeukseve’s Impatience are aso concerned with seed and moton, but in wholyaferent woys, Rell presets, attra porvat sequence o Pars iterary and soca ete, & fast maton metro and boat rie hugh Paris, punctuated by abstract ight gattens of ily streets and neon adverts ng, though most of the mages are fined asta, ths negating thei iconic meaning, the tal elect stands as a Imetonyy of Pari. Impatience made up of series cf ex treme close-ups f a women riding @ motoojele: Re In tense, windblown face, her hunched over body, Boles, hands, and wheesaeintrcu with ured movig comers Images othe passing ndcape. Infact. dung the fms 35 minutes Dekeuklererever once shows 2 woman ae ‘ualysding a motoryce, tut rather ony the smecdoches Of he experience of riding a motoryce. Thus, both fms, ‘espte ter primary preaceupation with formal cinematic odesa theme they share with al the cinéma, pur fims—igly narrative stuctures by conneting 2 concrete experience The same Hols true fr two of the mast widely Krawn od fms, Clair’ Ent acte and Renter's Ghosts bere Breakfast (1927), sithough the implct naratves are onserscal. Both fims ineorporate nat ony abstract and ‘oniconc images, but as attempt an Wore ply with fins conventional narrative codes Cir and Richter both se paale montage codes, fr exam, rvohing 3 ease (Entract) anc derbies (Ghosts) in chase sequences,6 Afterimage/Summer 1980order to destroy the syrtagmatic lage ofthe convention: syptagmes sent non-existent cqusaities, inanimate ob Jecis move inrevol against man's supremacy, humans re Sbstacted. The seldesructive impulse inherent nal ada at fds ts porate! im ih ms. At the end of Entrsete al the characters asapoear one after the oer Int thn ir, whe Ghosts belore Breakfast bis wih an ‘orgy of destucton wich, aceoving to Cowentona nar fatve ces, sould flow the fim’ ast scene in which aw tnd order Is ostensiy restored, Tho anarchic absurdist revat otives set before the rex revolsioninewtaby foes. ‘Athough ther aesthetic nlersions were dametialy op posed to cad, the sureastic Leto de Mer (1927, an Ray) and La Coquille et le Clersyman (1927, Germaine Dulac were formally etd to dada through er breaking ‘vn of syntagmatc lie. The wish fo veualize the ia tional sssoctons of the subconscious resuted jn the ‘estucion of montage des, Bot ms, tke Burts Un Chien Andalou (1228), te st fm oficily recognized by the suceaits, possesses ts ear quay» Despe the sureaist rejection ofpsychoeraytic readings, under fed by tiles such as “The fs nota ofear” in beth fn, tae snd La Coquile—n contrast 12 Un Chien Ane aloucould be nterprtea psychoanaycaly. They con Sous wtlzed Freudian symbos, eg, oversized keys, knives, nd swore (pha), ong dark Faays onal, and ‘moonlight water rections lm), within ther naabve Srotures, LEtolle de Mer’ cenal rope, a stars sy boiized young man's impotence, Ns inal t came to term witha woman except trough poetic description. In {a Coquille ete Clergyman the seashell) became the symbolic prize im an oedipal tugs Setwoen ater ‘and son Dream sequences of totaly citron nate appeared in Jean Reno's independent fnanced La File Eau (1924) anc La Petite Marchande «'Alumettes (1928), Desote melodramatic and impressonsie codes, the avant garde egardea highly sequences in toh ims which ineorperatd fst motion, negative images, and rap mon- tage to veualze 2 young gis dream oh being cared fotom the heavers by death. In La Pette Marchande Renot also expermented withthe new developed pan ‘tomatic fim, achiewa previcusly unénown gradations Detween black and whe, 25 well as 3 greatly increased pth of fd. The preoccupation vith finales wes abo vient in Abert Cavaleats La Pte Ll 1928). Fimed ‘ently through gauze, Cavaleats fi, tke the Renait fie, relipd heavy on nara codes exabished bythe lust Frenen avant garce Documentary ‘Te avantgarde trend towards documentary fms fist ‘manfestes fin the mi 205 nthe Soviet Union, where Daiga Vertv (kino-Provda, 1923-1925) ano Estr Snub (he Great Way, 1927) were active. In France, Aberto Cavatcant (Rien que les Heures, 1925), Jean Grémilon (our au Large, 1927), George Lacombe (La Zone, 1927) René Clair (ua Tour, 1928), and ean Epstain (Fis Ter- ‘20, 1929) al haa momentary fings wth documentaries, ‘aly before moving onto move commercial pastures. (Errmany such fmmakers a Rstmar (Beri, Symphony ‘of a City, 1926), Fichter (nflation, 1527), Aix Strasser {erin trom Below, 1928), and Abecnt Viktor Blur Cn the Shadow of Machines, 1628) worked fr a ramber oh years a6 documents In Holand Jors Wens (Rain 1923) founded a whole documentary movement, wtih ccuded Manus Franken (Branding. 1928), Hans van Meeren (X-Fi, 1929), Areas von Bary (oogstraat, 1929), and Jon Ferno (2ulderse, 1920), 2 wel asthe rotograpner raph designer, Pal Schuler (De Brug fen, 1923. These fimmakers, in many ways vey diferent, atten: ted not on to iconigraphicaly coy “everday,” bul ‘360 fo exzand fm anguage by ncorporatirg elnéma put ‘Sements. Some, Ike Veror, Shub, Blum, and ers, a proached ther material ‘thin the contest of 9 cles fnecious ideology, and were able fo esabsh a balance between these cartally opposing tendences, In Western Europe documentary production was motvated less by ideology than by ecanomie neces: documentaries cole te procuced cheap, and ths independent. Unabe to fee themsehes rtm bourgeis aesnetis, these fm makers at times forced the synchronic disintegration of rhovements and objets inthe fms to such a degre that 5 fetish resulted, in whch the organic connection be Tween sig and signed nas destroyed Ik was in the Soviet Urion, where the documentary became an experimental wospon for developing clas forscousnes, that ougrew ifs chicnood asa Newsred presenting te topical and exotic as entertainment, Lenin fad proclaimed” the so-called "Lenist proportion, thereby af ratio between documentary and fiction fm ‘rocucton was extabished. The newstea clectve, Kine Fye, ounce bythe contracts Dla Vertov, was tobe 3 factory of facls—to. use the constructivist ter: rinoiogy~cevlopngfim-spcie codes. Tei ural on fim, Kine Pravda, w2s 19 calecicaly project 2 new ‘lat realty by cononting the workers with sins cect: Wy teat to te experince. Kine-Pravda 21: Lenin's {ruth (2925) jutapesee the mourring masses at Lenin's funeral wh a story of Li's ole inthe revolution, Hav ing to use sats of Lenin which were only af fet kong Nertov opicaty reprinted the image, allowing the aucienes to study Lani’ gestures. While Vrtov usualy set his own material, Esfir Shub crested ace sub genre of documertary, the compiion fim by constructing. new onal works. cut ot ld newstees The Russa of Nicholas Mand Leo Tolstol (1928) nd. The Fall of the Romanovs (1927) bon presented re-edted, preevoutonary newsees i 9 pr- agandstcaly elec fam. The most mporat sper ot Shub's work was that she employed 2 syagmatic sue tureto dente» Mars erpetatin,wivohwas no way Interertinthe orginal porscigm. i ct tne wth SHADS work, AV, Blum produced aumbe of documentaries for the Geman Workers Ineratona! Rel, en the ‘Shadow of Machine, wich documented incustizaton inthe Soviet Une. Man ith the Movie Camera (1929's Veriov’s crowning achievement nthe 20s, men comprehersive endeavor in terms ofthe appecaton of his crema theois. The fim begins with reflectors in step windows. of empty frosts im the tary moring hous, shots of woman ‘asin, anda cameraman begining 2. Jays work. Verov then Mera presents leon of chematic codes: rand hed camera, tacking. rapid meage, muiple ex Posies, slownaton, animation, and feeze ames, The kine-ye"~a double exposure of @ human eye and Camerstens—beco the cel Yope connecting ages 1 6a thee fhe prope of Oxeaza wha meciaton nfm language. Work the factors nee with he wrk ofthe filmmakers colectve, the dlectic between Droces and product corsly demasiado one Point we see share and carpe, then 9 timstip othe ame, then the eotorcuting the fim together, beer 2 ftozen, then moving mage ance agen appears. The ex Iter compen layering of signification, incorporating icone, ndenical metonymical and synedocial meaning ids parle in almost every sequence. Despite these Aeorecal teres, hough, Man” with the. Movie Camera s primary 2 ove song the Soviet people and the vctoy ofthe Commins eoltion Rien que les Heures, Cavalcan's potato Pars ie, and Rutmaon's Been, Symphony of Gity, predate Ver tovsopus (erovparapirases numero huts rom Bern Symphony. Cavaeant manages to vsualy convey some of the socal and pti! coats of a meropts ut the ln Suites trom eccasonaly awkwars montage, Technically adept, but soodtgcaly non-ndlyie, Rutmann’s Fox financed documentary presents a crsesecion of Hein Borin deserted streets a caun, tke Verto in recaicg, Aigetsphotorats of Pas tue-and white cor wore Commuting, factoves;atrroon cafe in sidewalk aes Spots and lesure evens the hectic righ te of Beis ‘Zon. The laledoscope synecdoche tends, However, © anate Bern a5 meting pot, dad cess STR 2 ‘Siegries Krocaver notes : Rutan stad of pentong his ners subject mati wh @ ‘ir unsung ot mos, eon, ae gal US cans on frog cto neon wie fd Futon peters exreme igh andiow anges, 28 wal 28 2 ‘thie montage on frm and movement, regaces of the sg’ leone valve, Asa resu, when Ruttmann cor a— ‘Afterimage/Summer 1980 Ed ane Sat fr cece a tee Pe se eae near ie a ae te neat ace tee ‘Ruendeney over man, Hs conoled surface dynamism srs alin Cea bese saaay Imani hp of saa fa Poca ira Bert pnetnay paren enue as Kasse Wnt he wl S30 err SS pen Sen ae es Data! one sae ees ht St aus acti Te Res emo cs Ta tess e Brag 809 wen fia ces hnmmue noe» sds neces’ meen’ ot sone traceahgtt tes Sige ance atc nant grds as arenas oy Pal Seen es Broan 2 otc a oe is eee Mattes ro ares ty teeos Save wc Seema Soe te crcy ose ines oe aif cesns netrg tio hae ea ancy Sonos toes cain be eet Step lhe ge dserg os mes aes Degen sr arene ates ane Cite igatran onsets meas as mang case ba tae ae cram 2 Ter porogrn wr a ee git hs eevee yet eel amet hora asi Man wa te wie Gara rer resoncpseree ta eee tet ged apa trees as oat aero beso es es Stortion wich ener aie Secs cin Cnc i Tonos ‘At once mete experimental interms ofits employment of ‘ime codes and'mere anaiytc in Hs aperach to» Ben Sociol problem, I Hans Retr IlationConcetved 3 a9 Inloducton 1b the Uta fim, The. Lagy with the Mask (hiner hile, 1927, lation ices the soil conse quences of the rampant infaton caused by coptalst speculation on the currency makes. cating ination, Biron saat rercrsaig racine fre wating posure ana an everfster mythmic montage, the pot wen ne my ings se eco io ter Si rroton), ths coonting the colapse ofthe sconomic ‘Simiar iis constuction 0 lation, Rechts Ren symphony (1528) document a hase race at Beti’s Hop Dergrin track Wenout an iGesogea conte, Mowever, Fichiers back ona purely formal syrtapm, which ast sen any meanne, , noe, acrranty cones Closeups of a hand stoking a horse's mane, followed by hands stroking a woman's bare back, a bald Nea. and 3 Yet ore asks what the hase, the woman, and S000, have Ph Poetic documenttes, like Grémion's Tour Au Large Laconbe's La Zone. cre Savage Les Hes de Ports (1328, he’s Ral, an Srasers Berlin om Below mor fed ina somewhat eiferentdrecton, tempting to capture the parteuiar amoionce of a alae, these fms called to ring the eater impression ms ofthe ret avant garde Tour au Large depicts the le of tuna fishing sets creating aim mpresions, 2 mariage af musie an i ages” (Gremio, sir maa John Geos ater finan Betsnnerng thers, Driers (1329, Bertin fom Below consisted marl of extreme low ale shots, the erpetal energy. Raina athe quiet ye study os Gen cleus bust In Amsterdam, underned musical Structure hough high and low angles of penne. and strets, as well 3s threugh close-ups oan mater running over ros, down drainppes, an int the canals. La Zone {apd Les les de Paris (prt ot 2 cfm yc called Etudes 4 Pars) onthe ether han, were almost anthrpolopeal ‘documents about the nes of Pars unkdealers ane Seine Doatsmen, respectively" Unforunately, these fis. at tempted a poet constuction by searcingaut the exten the everyday thus precluding a secaycitea! pint ot view. Sauvage, who ako producad a number of vaveogucs (on Grece aa Asia, wasin fact mote nferested ne ows Inevery aso thn, the signified reaiy wos sccompanie’ ban aesthetic manspulaon of fin techies oven, inthe interest of those codes, Yet atthe same tine, an incon ‘wast othe Ruttnann ané Desay documentaries the nlc meaning was emphasized wth te aesthetic nest often ying inthe signi, hen the subject tet Seite Filme The division between postic documentaries an the Kindo ‘supposedly scientific anthpalagial ims mage nthe 20s may only be a matter ef interpetaton. Characerstic of Such tae! and antvopatgical ins, eg, March Aligret’s Voyage au Congo (1927, i he relative simpy of ther fimie codes, whereby the ions value tthe se is of primary importance. Gitar fms inthis ven are Fatery's NNanook af the Nort (1920), Lean Powers La Croisiere Nalre 1925), MerienC. Cooper and Ens. Schoedsack’s (Chang (1927) rt Vinci Shneideroys Pamir, Root ot the Word (1529). Fm during hndre Ges tiptoe French Cong, Alegret’s Voyage au Congo very act observes clothing. Jewelry, Pour, and dance codes of St oe Man with te Movie Camere (1520, oy Deg Veroy varus tc bes, intercut wth naps ofthe saan pro sess. Unike the anthropological photography of August Sande, though, lage’ interest in these codes more unknown landscapes, sms to have held a partular fascination fr intolctualsin the 20s, as wae evidenced by the many photos of Alcan art in avant garde magazines "ie Bir, or by Man Ray's photegapn Ne et blanche (2928), Man Ray even paraphrased a scan from Voyage au Congo, in wich Atican villagers play with 2 Rage ‘medicine al nis st i, Les Myateres cy Chateau de és (1928). The unconscious ravem inherent in this ‘aesthetic fascination only Becomes apparent i Alegret's fim nes the end, when the group sits comortaby infront 1 colnial manson, being serve by backs now “proper: Iv tessa in butlers outs, Here, hen, the shit towards 8 Cinema af primary eae meaning, where the aesthete terest shits fom the sig to he signed, was com plete, This dusty between the aesthetic and scenic was also ‘cent nthe micsescopc Hime ofthe Duc finan Jan CMal andthe Fench grectr, Jean Poinieve. Crystals (1928), Lie in a Waterdrop (i928), The Growth of Flowers(1925), and cher ime by Mal attempted to sce tcalyCocument processes Of nate nite to the moked ‘ye though microscope cinematography and fst and slow mation, However, afer Abe! Gance screened Crystal fis Stu 28 on his Tay (thre sree sytem, Mol became a celery ofthe avantgarde" The was not sur pring, since Mots images of uranium nate nd caloum Chloride in Crystals indexes atsract formal patterns and Tight etecione sir fo those of endma pur In fac, he Connection to eingma pur was even more crect. Hen Chomette included shots of erst a5 ea a8 1925 in ‘Ging Minutes de Cinéma Pur Paes, produced 8 whole seres of scent fins on sea We, eg, Octopt (1328) ana Sea Urehins (1928, wa, onthe oer hae, ‘uch more conscious ofthe reltensnip to the avant fade. In his wings he compare the abstract beauty of his underwater forms to painings ‘by Kandinsky and Passo." As in the case of Kat! Blostel’s lant shotorapny in Orginal Forms of Ar (1928, the sees fn fate in ese rages wos gain rine aestec Thus wehave came fle fom Rutimann’s Opus HY, where aostact forms indexed natural phenonena, 1 Panis conc sgnicaton of nature's wn altel at Within ths spectrum ofthe 20s avant-garde, fom absbac to, tough enema pur ins vateus ios, oe increasing emphasis on cone tnage, Le he scares focus shits Sow rom the signi tote seen Characteristic, though for practical al avant gare iss the seltconscious exploration and development of fm laneuage wores ee a et cones Yet Peter Wess, “Avantgarde Film" in Aken, No. 2, 1963. Engin,” In Sight and Sound, Fall 1975, p. 206, Sane ee ee soaue ‘File als Fl. Bet Hein nd Wut Herzogenrath es. (tut fms" inFrankurer Zeta. 2, 192 iar. Monta, “The Asta Fim See 1930—Tendences ‘nthe West Coe tran nF als Fm, Svtgr, 1579, Mo. "2s art Anime Gnas erator ela. Review Wine 32697 S. Man Ry, "Enk kh" Close Up, gut 1907, p40, and Le Bar Meco” Usp Nowveny, ery Tee Gash des Films 10961928 (Ben Hereca erog, 1575, p43 16 Segre Hou! From Calg to Hitler ine, N) _Flimgegner von Heute—Fimireunde von Morgen. 1229 22st Sane ans on Lect ges 21, Hank Senate, Nederansche Fimkuns rsa, 1988, 2b Gates Sado n Clsep,