فصل الطليعيون ، جماليات الموجة الجديدة (الطليعية) ١-a.. كتاب فهم السينما

avant-garde

In cinema, there are three broad categories of films: fiction, documentary, and avant-garde. Avant-garde means the front of the front in front of the main body. (“The main body” in this case means the commercial feature films) The avant-garde cinema was called many names, not all of them polite. In the thirties and forties, what was known was the “experimental film” or “poetic cinema.” In the fifties, these films were part of “independent cinema, and in America in particular, they were called This cinema is termed “underground,” and since the early sixties, most of the films of the avant-garde wave in the United States were considered part of the new American cinema.

New wave (avant-garde) aesthetics

It is the case with new wave films by definition being produced by and for the minority. Because of their limited responsiveness, they are rarely produced on a commercial level, where film is necessarily considered a lucrative commodity (9- (1) and avant-garde films are generally not considered part of the entertainment industry as most fantasy films are. Experimental films can be exciting, intelligent, and provocative, but they are rarely comfortable or highly amusing.For the most part these works are technically complex and difficult to understand at least at their first viewing.For many such films are an acquired taste, one must be effectively disciplined, sympathetic and patient in order to enter the elusive world of avant-garde cinema .

There are almost as many types of experimental films as filmmakers in general make these films on small budgets because their guaranteed financial returns are limited. Some take six or eight hours while others take just a few seconds. Most of them are less than half an hour in length. Most of these films are 16mm, not the more expensive 35mm, which is the standard size for fantasy films. A few experimental filmmakers have even converted to Super 8mm, in order to cut costs. There are those

Many avant-garde directors avoid audience acceptance and, if it comes, accept it on its terms. In many cases, these filmmakers dismiss the bulk of film culture as polished, fake, and aesthetically dead. They revolt in particular against the big lie of culture with its superficial morality and false welcome And her refusal to explore the less attractive aspects of life many viewers initially resented at her vulgarity Intentionality and bad taste in avant-garde films Shock techniques are common in these films as most of them are intended to kick the audience away from enjoyment and satisfaction. Audiences are abused, derided, and despised—especially by those who cling to traditional middle-class values ​​that these filmmakers deem sterile and lifeless.

Almost all avant-garde films are impressionists (9-2). These directors use film as a way to explore what lies beneath the surface in this physical world. They are not interested in recording real life but in creating a completely imaginary universe. They prefer invention to discovery and presentation to representation. A lot of them Preoccupied with esoteric psychological truth or submerged mythological existence - with spiritual boundaries that do not show an epitaph in the material world.

Independent films are generally conceived and executed by a single individual, unlike most fictional filmmakers and many documentaries. An experimental director usually shoots and edits his material. To keep costs low, the collaborative aspect of the filmmaking process is squeezed to a minimum (39). Usually, “the actors are friends and family of the director. But this necessary economy can produce greater precision and fuller technical control. The director is ultimately responsible only to himself. Therefore, the avant-garde filmmaker believes that his work is more subjective than the general commercial move, since (all) major artistic decisions are taken by him.

Most avant-garde artists are primarily concerned with communicating their inner impulses and autobiographical affairs with people, ideas, and experiences. Emphasis is often placed on a (direct) expression of emotions rather than on a positional presentation. This is why avant-garde films are sometimes ambiguous and even incomprehensible, because audience interaction is not always with the depth of the artist's expression. Unless he is in harmony with his own world in his essence, these films may seem difficult to control, but in the best of these films, including the symbolic and mythological works of Jean Cocteau and Jordan Bilson - for example - the necessary extra effort gets the viewer a large part.

Avant-garde cinema excelled in tackling taboo subjects - which were excluded by commercial filmmakers due to public censorship (9-4) These films were and still are considered to be horrible, offensive and immoral. These films abound in political and sexual themes, especially the latter in which there are many