فصل الطليعيون ، السينما الشاعرية ١-a .. كتاب فهم السينما

Poetic cinema

The second phase of the avant-garde cinema movement was, in essence, a period of consolidation and modest expansion. Excellent films were produced during this period, but most tended to develop themes and techniques originally explored by the Dadaists and Surrealists during the 1930s. Relatively few produced relatively few experimental films. It seems a more appropriate artistic medium during recession. When the Nazis seized power during this period, many German experimentalists emigrated to other countries. With the end of World War II, some of Europe's most talented filmmakers in avant-garde cinema moved to the United States. This partly explains the emergence of New York and San Francisco as the new capitals of avant-garde cinema.

Both Richter and Fischenker who brought their experiments to America continued in abstraction, though Richter's films became more surreal with time. Some of the most daring cartoon films were created by Norman McLaren and Mary Allen Pott during the 1930s. In the film The Camera Says Whoopie - (1935), McLaren developed new techniques for special effects. The film (The Colored Cocktail - 1935) was an exploration of symbolic color in animated films.
(Alekro) - 1939, which was the first film in which sound was made by direct drawing on film (9) 17 Pott's films continued in the footsteps of Germaine Dulac's films. Rhythm films (By Light - (1936), (Synchron No. 2 - 1936) and Para Bola - (1938) were all “visual symphonies of abstract shapes and ordinary objects made to appear as abstractions and cut rhythmically with classical musical compositions. Bute's work is one of the longest works in avant-garde cinema, starting from this period until the mid-sixties, and ending with her long film adaptation of Joyce's novel (In the Footsteps of (Fennicans 1965), which some consider her masterpiece.
Time by number During the 1940s the best abstract films were produced in San Francisco. Harry Smith, whose work was not very common in that, made eye-catching non-diagnostic films. Jordan Bilson started his career in 1947, although his greatest works were produced during the 1960s. John and James and Whitney also worked in San Francisco on some of their most innovative films during this period. Not all avant-garde films made in this city are abstract, however. For example, the poet and playwright James P. Otten made a number of films that were gentle satires of Freud's ideas, which had degenerated into stereotypes in this period.

However, Freud's influence remained strong in the avant-garde wave, most notably in the films of Willard Mass, Sidney Peterson, and Maya Dern. In fact, perhaps the main impetus in the experimental poetic period was Freud, although some of his theories also began to gain dominance, especially his emphasis on myth and ritual. In many of the commercial films of the 1940s (Alfred Hitchcock's Taken is a good example of this), the psychologist would "illustrate" even criminal behavior in murder by spewing out a torrent of easy Freudian flair, usually in the last few minutes of a movie's final thought. Like this one. The explanations generally involved a hitch" of some kind in childhood which, as soon as the omniscient psychologist had removed it, would immediately make the patient "sane". Hitchcock used this game even in 1964 in his movie "Marnie". In "Psycho" on In any case, "A Superficial Explanation of a Psychologist" is cleverly mocked.

Avant-garde cinema tended to avoid this kind of easy simplification. Freudian and Jungian ideas were used in a more sophisticated way to suggest possible motives rather than to offer intelligent solutions. Exploration of the subconscious was not mostly exciting in these films, although sexual disappointment was still the dominant theme. The themes were constant anxiety and search for personality and need Escape is common in the avant-garde cinema of the 1940s and early 1950s, and especially in the work of Maya Dern, who was perhaps the most influential and best known experimental filmmaker of the period.

Dern's film Afternoon Threads - (1943) was surreal and powerful in its effect, and presented the director herself as the shivering, addicted heroine (9-18). In her recent works, Dern has explored the possibilities of dance and cinema, mixing the two mediums of expression with a high artistic capacity, as in her works (A Study in the Kinetic Design of the Camera) (1945), (Rituals in a Distorted Time - 2946) and (Reflections on Violence - (1948). in terms of subject matter to Jung and Freud and tend to ritual in their assertion.
Dern was an important theoretician of avant-garde cinema. I wrote and spoke constantly On the benefits of personal films over standard Hollywood films. She distinguished between poetic cinema and commercial films primarily through construction. Personal films such as The Lyric are 'vertical' investigations of a subject or situation. That is, the film-maker does not care about what happens as much as he cares about the feelings that the situation arouses or what it means. The director cares about exploring the depths and folds of meaning in a known moment. The poetic film is not concerned with the movement as it is, but with the metaphysical content of the movement.

Fiction films, on the other hand, are like novels and plays - they are intrinsically "horizontal" in development. The director of the narrative film uses schematic structures and must jump from one situation to another and from the feelings of the other. He does not have enough time to explore the connotations of a known emotion or idea as he must constantly make his film move forward. The poetic filmmaker neglects the constraints of time and space, while the narrative director, at least in his period, should care more than noticing some of the temporal and spatial conventions that extort a lot of time on his screen.

Dern believed that in some cases it was impossible, though difficult, to combine these two types of structures. In Shakespeare's most distinctive plays, for example, the actions move the drama in a horizontal plane of development. But this advanced act sometimes stops and thus allows the dramatist to explore a known feeling within a kind of void outside of time. Temporary suspension of time, space and movement. Dern believed that in the film - we sometimes find a group of (arias) and ready-made pieces that use horizontal buildings that are not tensioned, such as the famous Odyssey stairs scene in the movie Eisenstein Potomkin, for example. The actor is talking to himself.

It is these passages of monologues, arias, and vertical poems that he attempts