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By Pavle Levi

Cinema by means of different capability explores avant-garde endeavors to perform the cinema by utilizing the fabrics and the ideas varied from these normally linked to the cinematographic equipment. utilizing examples from either the historic and the post-war avant-garde — Dada, Surrealism, Lettrism, “structural-materialist” movie, and extra — Pavle Levi unearths more than a few bizarre and creative ways that filmmakers, artists, and writers have meditated and created, played and remodeled, the “movies” without or with at once grounding their paintings within the fabrics of movie. The examine considers artists and theorists from in all places Europe — France, Italy, Soviet Union, Germany, Hungary — however it quite foregrounds the context of the Yugoslav avant-garde. Cinema through different potential deals the English-language reader a radical explication of an collection of incredibly Yugoslav inventive phenomena, corresponding to the Zenithist cine-writings of the Twenties, the proto-structural Antifilm circulation of the early Nineteen Sixties, and the “ortho-dialectical” film-poetry of the Seventies.

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Is established, providing an antithesis to the preponderance of visual ambiguity and serial randomness that went on before it. Not unlike Aleksić’s earlier quoted phonetic poem, TABA CIKLON II, which ends at the point when language becomes sense (“parlez-vous francais”), Return to Reason’s cinematic irrationality finally comes to a halt as it “stumbles upon” some familiar content, filmed in a steady and patient manner. The film ends with a shot of a naked, rotating female torso. The shot is, in fact, shown twice, first as a positive then as a flipped negative image.

In recent years, Dadaism has amused itself with such barbarisms. 36 The “demand” made by an art form precedes, then, the means of its technological realization. Eventually, technology “catches up” with this demand, with the idea it seeks to realize: “First, technology is working toward a particular form of art. Before film appeared, there were little 43 CINEMA BY OTHER ME ANS books of photos that could be made to flit past the viewer under the pressure of the thumb, presenting a boxing match or a tennis match; then there were coin-operated peepboxes in bazaars, with image sequences kept in motion by the turning of a handle.

Significance and functions of automatism—of automatic writing in particular—are elaborated at great length in André Breton’s first surrealist manifesto, produced in 1924 (which also happens to be the year of Micić’s “Zenitisophy”). In a well-known passage, Breton defines automatism as the essence of Surrealism: “Surrealism, n. Psychic automatism in its pure state, by which one proposes to express—verbally, by means of the written word, or in any other manner—the actual functioning of thought. ”20 In the realm of visual arts, the foremost proponents of Surrealist automatism were André Masson and Max Ernst, the former with his drawings and paintings and the latter with his frottages.

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