AVANTE-GARDE CINEMA

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AVANT-GARDE CINEMA

Introduction

The avant-garde cinema has been defined by renowned scholars as having various features. However, the most common theme in all of these definitions is the otherness and uniqueness of the avant-garde cinema. The avant-garde cinema existed before in the early parts of the twentieth century. However, it also continues today in one form or the other.

The history of cinema has also been noted by the film historians who believe that the cinema is nothing more than a series of inventions in the fields of optics, chemical, and other technical and scientific discoveries. Hence, these same discoveries resulted in the showing of the first film, in 1896.

Hence, it becomes clear that the cinema had the flagrant discrepancy between the mechanical, optical, technical, and scientific and the unity, homogeneity, and illusory effect that it created. This shows that it was a Dada artefact quintessentially, which made it avant-garde and Dada as well showing the difference between it and anything other as resulting from these inventions of the nineteenth century.

In this way, the avant-garde cinema was the creation of invention and also reflected the discoveries made in the late nineteenth and early twentieth centuries. The avant-garde literally implies the quality of being different. Accordingly, it is expected that the film also understood this need for being different and other, the way cinema was other itself. Therefore, the cinema was the invention of the time and had all the various technological developments that made it Dada. Likewise, the cinematographers and producers of films also knew this Dada nature of the cinema to create more and more avant-garde films which were the taste of the avant-gardes and those who were different.

The Avant-Garde Cinema

Dada and the Cinema

It has been indicated that the Dada and cinema combination developed when it had become impossible to separate the cinema with the technology. It had happened when the technology had become intertwined with the art, and there could be made no film which was not distinct from the technology. Then, the ability that the cinema provided resulted in the inclusion of the aesthetic in the regular technology to create the right art. Hence, the created object of art was made to look like the crafted object of art.

Accordingly, we find that, in Germany and Berlin, the enthusiasm to watch the films as Dada and the recognition of films as Dada were both present. Hence, the cinema was popular among the avant-garde and Dadaists who believed that the cinema was the platform for creating extreme art that included the erotic and the psychic while showing the relationship of bodies with their environments. Hence, the cinema lay between photo montage and meta-mechanics.

Then, the Dada films have been defined as the avant-garde films as well as its inclusion in the abstract and experimental films. Hence, these films were more like structural and pictorial works than Dada. Accordingly, we find that the new American cinema was avant-garde and included the history of the Dada film.

Likewise, Ballet Mêcanique can be considered as a Dada ...