فصل الطليعيون ، السينما الشاعرية ٢-a .. كتاب فهم السينما

Traditional stories that avant
garde filmmakers created without being weighed down by the horizontal narrative of horizontal construction. Most poetic films are short precisely because they are emotionally intense and narrow-minded. Since these films do not try to narrate, they are able to focus on the intensity of emotion, which is difficult to attribute to long periods of time. Poetry as opposed to prose, commercial and independent cinema have different goals, but that does not mean that one method is necessarily superior to the other.
Dern was also the foremost figure in publicizing avant-garde cinema and expanding its audiences. She has spoken tirelessly to groups across the country, urging them to form their own film societies where personal films can be shown to new audiences. She has her own work booked in a number of universities and art museums and helped form private cinema collections where poetic films could be shown on a permanent basis. This period is

After World War II, the so-called art house movement was also a success for avant-garde cinema in America. The number of small cinemas specialized in showing serious artistic films began to increase, and by the time the fifties came, they began to spread rapidly. In view of the location of these theaters in university and large cities, they were showing, in addition to the important European films, some of the best local experimental films of that period.

At the end of this phase of the avant-garde cinema movement, a number of filmmakers had already begun to explore topics and techniques that were closer in their features to the last period of underground cinema. Brakach, which deals openly with the subject of masturbation, and a fireworks film by Keith Anker, which is a Masonic fantasies of male homosexuality, and it is less delicate and accurate than most of the poetic films of this period (20-9)
Indeed, a number of critics and publicists expressed their dismay at the element of perversion', which was quickly becoming the dominant medium in avant-garde film. I have complained Jonas Mekas, who later became the indomitable defender of these films and for less than a decade, complained of the existence of a "sexually perverted plot" in experimental cinema. Likewise with Aimos Fokel, who was horrified by the obsession with direct sex and for the sake of sex, which characterized many of the works of young filmmakers according to what he felt. Fokel commented, “The spread of sex in a sexually repressed society is inevitable, but he believed that most of these films lacked skill and were exploiting the backwardness of society to sell them.”
The American was just performing the job of pretending the art kind of pornography. However, the avant-garde wave was entering a new phase in the mid-fifties, a phase that represented a return in all respects to the anarchic heritage of Dada, to hatred of social systems and complete freedom of expression. The avant-garde wave had begun to soften a bit since the 1930s, but a new generation of lunatics began to take over, bent on usurping the respectability of the movement.