Media Art Film Studies: Avant Garde
In 1911, Italian writer Ricciotto Canudo who is deemed the first
theorist of film considered cinema as “the Seventh Art”. He had the
understanding that film incorporated the distinctive elements of both
the spatial arts and temporal arts (architecture, sculpture, painting on
one side and music and dance on another). He later introduced poetry
to the list in 1923, as a renowned manifesto entitled “Reflections on
The Seventh Art”.
In 1920s, and the subsequent years, “the seventh art” was a common
reference to the movies world. Presently, almost 150 years after
Canudo’s manifesto, video games have emulated “new art”, or the
“Eighth Art”. They have introduced some new elements of film, to the
profound and crucial aspect – interactivity.
The first time a film was introduced to the public, most movie lovers,
were at first were drawn to the theatres by the whole technology of
gigantic moving pictures. In the same case, today, most game stars are
motivated by interactivity in their various games. However, it is
evident that film audiences have complained of boredom with the
simple spectacle of moving pictures in the same way gamers become
fatigued by game play alone within video games and which prompts
them to look for more satisfaction elsewhere (Aitken, 2001).
Futurism is a social movement with an artistic content from Italy,
around the early 20th century. Its emphasis was glorifying all themes
associated with new concepts of the future, where technology, speed,
lifestyle objects, airplanes, cars, and the industrial cities are included.
Futurism was considered largely as an Italian phenomenon though
other places like England and Russia staged similar movements.
The futurists participated in every medium of art, such as , sculpture,
ceramics, painting, graphic and industrial design, interior design,
theatre and film, fashion, textiles, literature, music, and architecture.
In the early 1910s, most contemporary artists associated with
Modernism joined the film industry as part of embracing new
technology (Umbro, 2001).
This saw the artists animate their images and most Italian futurists
issuing a prospective on the possibilities of Futurist cinema in 1916.
Major Futurist films appear to have lost popularity but contrary to this,
1912’s Bruno Corra essay gave a detailed inside story of animation
work. Bruno bypassed the camera by painting directly on celluloid
and his work attracted very little attention that forced this method of
direct film making to be reinvented two decades later.
Various futurists came up with infamous statements, which brought
about much controversy within the contemporary film industry. For
instance, the ‘Un chien Andalou’ film, which was produced in France
at around 1928, was considered to advocate for murder by Futurist
Luis Bunuel.
Either way, it was the film manifestos, which dictated the
comprehension of experimental films as well as the avant-garde films.
It was through these manifestos that alternative films such as video as
well as television later featured within the cinema history. In addition,
the manifestos comprised of the initial film theories, which were
existent within the film industry.
In that perspective, it can be observed that the manifesto, which was
formulated by Ricciotto Canudo (who is a renowned futurist) which is
popularly known as the ‘Sixth Art’ manifesto, introduced the radical
film theories. Moreover, the Soviet manifesto formulated by Futurists
Sergei Eisenstein, Grigori Alexandrov in the accompaniment of
Vsevolod Pudovkin, which emphasized on sound marks, brought
about harsh discussions on the idea of relating image to sound within
film production.
A great number of people do not comprehend video games’ as a major
element. Some people allege that it is technology, others video, while
a few others insist that it is audio. The art film industry however,
proposes that narratives are the key element in video games. A close
examination of historical trends in the film industry puts it clear that
within games, narratives are the most predominant aspects.
It is expected that as the film industry attains maturity as an art,
narrative shall probably eclipse other aspects of games, visual
spectacle, and technology game play. Actually, several people fail to
comprehend the reason behind the spontaneous production of
manifestos. During the early 1900s until the start of the 2000s, film
manifesto proliferation along with television as well as video
manifesto proliferation was considered colossal.
Nevertheless, they have not brought about any significant ‘effects’. In
the course of the cinema’s history, reactionaries and radicals put
forward the major political along with aesthetic objectives (O’Pray,
2003).
During the start of 1920s, a good number of Italian Futurists
developed film manifestos, which stated their various philosophical,
artistic along with political ideologies. The film manifestos formulated
by the futurists were aimed at advocating for consciousness revolution
within the artistic field. They were also focused on redefining the
cinema culture in a radical procedure.
Film manifestos, which were mostly done by various futurists, are also
associated with the emergence of the documentary movement within
Britain, which is commonly termed as surrealism. The manifestos
contributed towards educational films’ development. Subsequently,
every artistic movement, which proclaimed the establishment of new
art film concepts and the overhauling of the previous film concept
always, did so using manifestos.
A good number of futurists advocated for the experimental cinema.
Experimental films make use of distinctive visual arts to make the
cinema picture better. Experimental cinemas were firstly introduced
by the avant-garde faction, which had its base in Europe. Various film
critics such as Adams Sitney formulated theoretical texts, which
resulted to the development of Experimental cinema.
The distribution of these films was mainly done by organizations,
which were not interested in making profits, and thus the films
realized great success within the art film history. Experimental films
are usually produced through diverse filmmaking procedures thereby
making them quite different from the conventional commercial films.
Initially, these films were described by avant-garde but as at present,
the “experimental cinema” exists on its own (O’Pray, 2003).
In the 1920s, and for some time afterwards, “the seventh art” was a
common reference in the movies world. Presently, almost 150 years
after Canudo’s manifesto, video games have emulated “new art”, or
the “Eighth Art”. They have introduced some new elements of film, to
the profound and crucial aspect – interactivity.
Various aspects characterize experimental films. First, there are no
linear narratives in this genre of films. In addition, these films make
use of diverse abstracting procedures such as rapid editing as well as
film scratching. They also do not feature sound tracks but mostly
employ asynchronous sounds. Their main objective is to capture the
attention of the film viewers by indulging them in thoughtful relations.
During the years of 1960s, the experimental films were mostly in great
opposition of the conventional film culture. In overall, such films are
produced at low costs and do not feature a big crew as they are self-
financed (Umbro, 2001).
However, a number of film critics allege that the experimental films
cannot be considered as purely “experimental” because they have
almost assimilated the conventional films. Nevertheless, they are
‘experimental’ because their construction is purely non-narrative and
they are mainly based on impressionistic approaches.
Actually, the avant-garde concept defines the marginalized art film
producers whose productions are in great opposition of the
conventional commercial values. In most of the cases, their concept is
founded on social edges, which are considered quite abrasive. In the
course of the modernism years, various theorists as well as critics
proposed various allegations about the vanguard culture.
Vanguard culture not only dismissed the ‘conventional culture’ but
also it opposed the artificially formulated mass culture, which had
emerged because of industrialization. Nevertheless, the emerging
media can be viewed as the Capitalism product, which is focused on
accruing large profits, which are not actually the factual art ideals. For
instance, the 1930s were earmarked by the incorporation of the
surrealism visual mannerisms within the advertising sector.
It should not however be assumed that the advertising photographs
produced within this year were mostly bizarre. It was the lack of
substance within their style. It is thus quite challenging to differentiate
the avant-garde inventions from the fashions, which were
commercially oriented. It is also difficult to overlook the fresh
consumer culture, which has been accustomed to the novel
manufactured stylistic innovations (Aitken, 2001).
In the real sense, since time immemorial, cinema has always existed
together with film manifestos. Various young artists dealing with film
production came up with a distinct avant-garde discourse, which was
quite different from the previous discourse, which had been
introduced by Maya Deren along with Alexander Hammid within their
film entitled ‘Meshes of the Afternoon’. For quite some time, the
avant-garde art films have been focused on artistic aesthetics.
However, other futurists such as Thornton allege that artists should be
identified through the production of cultural works, which are based
on critical perspectives. She also alleged that art film works should be
viewed as methods of addressing the targeted audience. Such
allegations indicate the degree within which the artists are responsible
by engaging within diverse cultural debates.
Nevertheless, the avant-garde film producers came up with fresh
thinking ways touching on the film production during the years of
1980s. Consequently, new films were released which earmarked the
generational change. The fresh aesthetics introduced by this group is
associated with the emergence of novel art film theories.
The Futurists were mainly concerned with the reinvention of the art
autonomy. In their own perspective, they held the view that the art
autonomy should always be different from life’s economic, ethical, or
even political issues. In their perspective, they wanted to have an art
which was ‘relevant’ to emerging generational transformations while
still staying quite free from any form of propaganda. Much of these
predispositions were featured within the 19th Century doctrine entitled
‘l’art pours l’art’.
This doctrine was also seconded by other Futurists’ works such as the
‘Critique of Judgement’, which was authored by Kant. However, the
outcome made an indication that the art film coexisted with other
societal cultures and it could not survive on its own. It turned out that
separating the art film from the renowned mass culture could only
bring about devastating effects.
The modern art film made use of ‘experimental’ techniques to make it
distinct from the conventional art film. The futurists were concerned
with the development of distinct art film principles, which could bring
along films, which are not similar to the commercial films. The new
films could also be focused on modern aspects while at the same time
presenting meaningful universal myths thereby passing special
messages to the targeted audience (Umbro, 2001).
The futurists held the view that the emerging film audience was more
sophisticated as well as knowledgeable and had sufficient skills to
interpret films and thus the modern art films had to be produced in an
ideal manner. In accordance to Camper, the fresh art films had to be
designed in an understandable procedure so that every person is in a
position of finding them out as satisfactory both emotionally as well
as intellectually.
Besides, it had to be known that due to the various technological
advancements, the target audience could actually be regarded as
“elite”. In spite of the various arguments brought about by Futurists
such as Adorno along with Greenberg alongside many more others,
“avant-garde” was incorporated within the film industry within the
years of 1960s.
Even though a bit of its application was appropriate, it has been
discovered that some artists had applied it with the wrong intentions.
For instance, some of them took it as the chance to market commercial
cinema. As a result, the true meaning of avant-garde has been
forgotten and thus the film producers who achieved great success
within the film industry are currently described with this term (avant-
garde) in most of the cases.
On top of all these arguments, another set of theorists who believe that
the thinking ways which are commonly termed as modernist have
already been replaced by the novel age which can be properly
described as post-modern modern. These were the sentiments of
futurist such as Hans Bertens who authored the articled entitled ‘The
Idea of the Postmodern: A History’ which was released to the public
in the year 1995.
However other previous futurists, for example Matei Calinescu had
earlier on, within the year of 1987, presented the same sentiments in
his article which was known by the name ‘Five Faces of Modernity:
Modernism, Avant-garde, Decadence, Kitsch, Postmodernism’.
Within the U.S., theorists such as Harold Rosenberg brought up a lot
of criticism concerning ideas of various futurists.
Rosenberg alleged that the futurists had negatively influenced the art
film industry to the extent that it had failed in fulfilling its initially
formulated adversarial role. Rosenberg argued that the ‘avant-garde
ghosts’ along with the transforming mass culture had greatly impacted
on the art film industry. Even though, the futurists had foreseen a fresh
art film culture, which could be quite different from the commercial
cinema, their dreams are yet to be fully realized (Aitken, 2001).
On another perspective, futurists such as Bordwell allege that the art
film narrative is usually based on two main principles; that is the
authorial expressivity along with realism. The current art films have
actually deviated from the previous mainstream film making norms
and thus their narrative structure can be considered episodic in nature.
In addition, they tend to loosen the cause along with effect sequence
of the mainstream films.
Moreover, the upcoming art films are usually concerned with the
internal drama-taking place within the character’s psyche, for
instance, the psychological issues featuring the character’s personal
identity. Besides, the new art films are also concerned with identifying
various moral dilemmas as well as problems of personality identity
even though these aspects are usually revealed within the film’s final
episodes.
Moreover, the investigation along with probation of the dilemmas
featured within the fresh art films are done within a fashion, which
can be considered to be pensive unlike the commercial films even
though within the final parts of the movies they usually exhibit an
unclear resolution (O’Pray, 2003).
The films’ main characters are especially presented as individuals
whom re subjected to alienation and who are doubtful. Besides, within
most of the new art films, the principal character’s fantasies, as well as
their dream cycle is depicted in an internal procedure. In other rare
cases, those directing the new art films opt to apply absurd depictions
while in the process of expressing the philosophical concept of the
film, which can be simply termed as existentialism.
As at present, art film has undergone various transformations. The
evaluation, as well as, scrutiny of the art film is commonly termed as
film criticism. The art film works criticism is usually split to two
diverse classes. The first category is academic criticism carried out by
renowned film scholars.
On the other hand, there is the journalistic criticism of art film
featured within the print media such as the newspapers, journals along
with magazines. In most of the cases, the journalistic criticism of art
film is usually carried out by film critics, who are employed by
various media houses dealing with the printing of newspapers and
journals as well as the broadcasting companies. This group of critics is
usually concerned with the analysis of the newly released films.
Much of the criticism done by this group is usually premature. This is
due to the fact that upon going through the film at least once, they are
usually expected to present their opinions within a short time span
(almost within a single day) before the film reaches a wider audience
within the global arena.
Nevertheless, this genre of critics cannot be avoided as it plays a
significant role within the present art film arena. It usually assists in
the better understanding of specific art film genres. Most film scholars
hold the belief that the film critics from the journalism field should
only be regarded as movie reviewers. This group of individuals is of
the perspective that the realm film critics should be the persons whose
approach to the film is purely academic.
The film critics who approach the film analysis in an academic
manner are usually concerned with film studies and are quite
knowledgeable on the diverse film theories. The group is well
informed on the diverse filming techniques as well as the manner by
which they are received by the audience.
The academic film reviewers do not feature their analysis within the
print media or even the broadcast houses but they mostly present their
ideas within articles, which are publicized through different scholarly
articles along with the widely circulated entertainment magazines
(Umbro, 2001). In addition, this group of reviewers has connections
with certain colleges along with universities, which offer film studies.
However, it has currently turned out that various film genres such as
the comedy films along with the action movies, which are specifically
marketed en masse, are not affected at great magnitudes by the
judgments released by the journalistic critics. The film analysis is
usually focused on the film’s plot summary along with a precise film
description and it greatly dictates the manner in which people will be
interested in watching the film.
It has been realized that the various films types are affected differently
by the reviews released by journalists to the public. For instance, the
success of most of the films whose concept is based on drama is
highly dependent on the nature of the analysis presented by journalists
within the print media or broadcast houses (Aitken, 2001).
Film reviews, which are negative or done in a haphazard manner, lead
to financial losses to the film producers, as it will receive a low
number of audiences. Such allegations indicate the degree within
which the artists are responsible by engaging within diverse cultural
debates.
Within the contemporary culture, film artists are expected to exploit as
well as criticize the art works produced by their colleagues either
culturally or politically. Either way, there exist specific exceptions
regarding the generational gap, which affects the adoption of the fresh
discourse.
This is confirmed by the Thornton’s theory, which affirms that the
new art film form did not completely reject every aspect of the initial
art film. It is however, remains debatable the manner in which film
reviews whether from the futurists’ side or even the journalistic field
affects the performance of the given film within the market segment.
A group of individuals believes that with the aspect of movie
marketing being properly established; it is unnecessary to reconsider
the effect of reviewers on the success of various films. In the event
that the marketing of the films is sufficiently financed, the comments
made by various reviewers become insignificant in determining the
film’s success.
However, in some occasions, films, which have been widely
promoted, have failed to receive a good audience within the market
segment because of the harsh criticism released by different film
reviewers (O’Pray, 2003).
On the other side, independent film works which have not been widely
marketed have realized great success due to the positive reviews
accorded to them form diverse sectors. Films, which could remain
unknown with the film industry, have actually risen to fame due to the
positive reviewing accorded to them by various critics.
In other cases, film producers opt to avoid sending their newly
produced film copies to the reviewers in advance to make it certain
that the films success will not be affected in any way by their reviews,
which may be either positive or negative.
This kind of behavior is usually exhibited by the producers who have
little confidence with their work. This habit can however turn out as
detrimental to the marketing of the film in question because the
reviewers may allege that the film was not reviewed because it does
not deserve to be watched under any circumstances.
Within the year of 1979, David Bordwell attempted to define the term
“art film” in the process of trying to differentiate it from the
commercial cinemas, which are usually produced in great magnitudes
within Hollywood.
Most of the films produced in the Hollywood-style are usually
organized within unique narrative types, which are connected to the
current activities taking place within the world in a casual way. Each
scene within the film is specifically directed towards a certain
objective. On the other hand, mainstream films usually have plots,
which are developed within a protagonist manner.
They especially feature characters whose roles are clearly set out
(Umbro, 2001). Their logic is mostly based on routines, which are
focused on resolving problems. In the final phase, soundtracks, which
are musical, are incorporated within the film to capture the attention of
the targeted audience in an emotional way.
Prior to releasing them to the market, seamless editing is undertaken
to make them tight as well as vastly paced. In most of occasions, the
new art films are usually characterized by generic images along with
verbal expressions accompanied by diverse plots thereby making them
different from the commercial cinemas.
Other futurists such as Bordwell allege that there are unique
conventions within the novel art film thereby making it a distinct
genre. These sediments were also offered support by Robert Sam.
Both of them propose that the novel art film is founded on the
emerging artistic techniques and is not aimed at introducing star
performers, as it is the case with the commercial cinemas. Putting in
place significant change measures is complicated.
Not only should one address the specific barriers hindering change but
also the film dynamics, which mostly thwart the efforts of
implementing, change (Aitken, 2001). In accordance to the Howard
Gardner’s book entitled Changing Minds, most bureaucracies desire to
avoid spending energies and finally incur blame.
It is easier to view the absence of strong opposition to specific action
plans as a sign of positive support while forgetting that those who
doubt the proposed changes may have made the decision to remain
silent. This group of people assumes that those proposing the changes
are well equipped with the information required for successful
implementation process of changes or try keeping way from pointing
out mistakes. That is why it remains vital to reconsider the
organization’s culture while formulating an inclusive change plan.
The bigger part of the resistance faced while attempting to implement
fresh art film culture can be avoided if effective measures are taken at
the very beginning. Even though resistance is considered the natural
human reaction to change, effective explanation can bring a greater
percentage of the resistance under control.
Various change management techniques should be applied in order to
manage overcoming resistance. For instance, in the course of initiating
the changes, the approach should be well structured from the very
beginning. Besides, from the initial stage, renowned film stakeholders
should participate actively as well as visibly (Umbro, 2001).
Moreover, the change should from the start enjoy the support of every
individual within the sector.
The antagonism emerging between words in relation to images cannot
be regarded as novel within the film industry. In most scenarios, the
antipathy affecting these two aspects of art film is viewed to be
closely related to cultural as well as political resentments. It overlooks
the boundaries established within the populist art film industry.
It actually, comes about as the resultant of the raging debates between
realists along with formalist in their attempts to criticize the futurists’
ideas on the use of narratives within the novel art film. Consequently,
there has been a great magnitude of tension between the conventional
art film works and the newly introduced novel art film videos.
The lack of satisfaction with the binarism affecting the film theories
was instigated by various futurist’s essays such as those released by
Wollen within the course of 1972. The Wollen’s essays which were
entitled as “Godard and Counter Cinema” along with the “The Two
Avant Gardes” were in great opposition of the avant-gardes’ theories.
Within the premier essay, Wollen proposed various “counter cinema”
codes, which were in great opposition with the already established
dominant cinema codes.
However, as we advance in years, it has come to be discovered that
Wollen’s oppositions was of insignificant value as it only had
tentative effect on the arising issues within the art film sector. In the
same manner, the “two” avant-gardes which were actually politically
as well as idealist structured are no longer evident within the present
art film scenario. It can actually be concluded that the binarisms had
theatrical or even painterly origins and thus were only temporarily
relevant to the industry.
Even though the tentative models were mostly dissatisfying, it is
almost impossible to get them replaced by the cluster of differences
proposed by different theorists. The Wollen’s argument was that the
tentative models were all-inclusive and made assumptions on any
emerging omniscient problems.
Besides, other theorists, such as Silverman made remarks, which were
remarkably erroneous. The remarks made by Silverman lumped
together “modernism” together with avant-garde thereby summating
the experimental cinema to inversion, in addition to denial terms. In
other different terms, these can be described as the withdrawal of
politics from the “modernisms” associated with the fine arts of
bourgeois.
In general, overviews, Silverman allegations can be described as the
process, which is simply “reactive” and aggravated by the emerging
crisis within the art film culture (Hatfield, 2006). For other theorists
such as Jameson, the formal subversion proposed by various futurists
was just nothing but the elitist society’s daydreams. Jameson did not
identify any impact brought along by the futurists with the art film
culture.
He actually alleges that the products of futurism within the art film
sector were merely diverse kinds of compensatory structures. In that
perspective, the concept of Silverman regarding the literally
preconditions affecting art film can be easily comprehended.
On the other hand, models, which can be termed as psycho-linguistic,
have been formulated to justify the essence of the avant-garde films.
The model was concerned with the introduction of the economics
discussion as well as political relations within the avant-garde films
(O’Pray, 2003).
However, it is essential to avoid falsifying the “new narrative” within
the film theories while objecting the futurists’ ideas. In addition, an
assessment has to be undertaken on various genres of film theories in
the coming days. Nevertheless, in the process of identifying the viable
models it is important to conduct hypothetical analysis within the film
art practices.
The film theory dilemma is not just present within its in-built
contradictions along with the irrelevance of most of the practices film
art practices, but it is also evident in its dominant status. The status is
established in such a way that it is impossible to overlook the
dominant orders.
Concerning the modernism, along with post modernism theories, the
experimental films can be branded as the reality of the avant-gardes.
In addition, the ‘Marxology’ along with ‘Freudology’ concepts affirm
that it is actually the experimental films, which actualize the film
theories in general. In most of the times, ‘theoretical combat’
neutralizes as well as displaces the film theories’ realities.
The ‘theoretical combat’ is said to originate from various academic
institutions along with art film conferences. For instance,
academicians such as Guattari allege that film theories can be viewed
as established orders, which are in great contrast with the avant-garde
film practices (Umbro, 2001).
Guattari can thus be termed to be in disagreement with the proposed
avant-garde art-film practices. It should not however be assumed that
the film theories have problems or inconsistencies; the opposing
allegations come up because in every practice there must always
emerge theories which are defiant to the proposed sediments. It should
also be noted that the problems are being experienced in formulating a
theory, which properly as well as adequately describes the
experimental film narratives.
The need of implementing the change should be communicated to
every artist along with its effect on the audience along with the
benefits associated with the change.
It is evident that more still needs to be done if the new films will have
to become more different from the commercial cinema. The futurists
were concerned with the development of distinct art film principles,
which could bring along films, which are not similar to the
commercial films.
The new films could also be focused on modern aspects while at the
same time presenting meaningful universal myths thereby passing
special messages to the targeted audience. Unless the current film
producers put into to consideration the futurists’ ideas, it will be
difficult to differentiate the fresh art characteristics from the
commercial media. Unlike the commercial cinema, which is, profit
oriented, the fresh art film is aimed at displaying high-class talent.
From the beginning to the end of all the proposed theories, it appears
as if there is no any theory (either modern or conventional) which
sufficiently describes the greater part of the avant-gardes’ films. Based
on the neurosis nature of language, psychoanalysis has distanced itself
from the binarist reductions.
It has on the contrary made use of the structural linguistics to discredit
these reductions, which were brought about by binarism. Moreover,
the proposed film theories have fallen short of describing the avant-
garde films in relation to the reasonable, artistic, and political in
addition to reproduction aspects.
The theories did not also elaborate much on the avant-garde films’
production dialectics. In addition, the avant-garde arena is still marred
by the bourgeois’ art works complicity issues along with the alteration
of the already dominating culture (Aitken, 2001).
In overall, in order to resolve the issues affecting the experimental
film along with other futurists’ ideas, it is necessary that most of the
post-modernist alongside modernist speculations are disregarded. This
is due to the fact that most of them are mainly concerned with finding
out ‘realities’ of the proposed film theories instead of coming up with
appropriate resolutions. Finally, it should be well known that the
futurists ideas are vital in establishing the avant-gardes’ symptomatic
value.
Reference List
Aitken, I. (2001). European film theory and cinema: a critical
introduction. Scotland: Edinburgh University Press.
Hatfield, J. (2006). Experimental Film and Video. New York, NY:
John Libbey Publishing.
Hjort, M., & Scott M. (2000). Cinema and Nation. New York, NY:
Routledge.
O’Pray, M. (2003). Avant-Garde Film: Forms, Themes, and Passions.
London: Wallflower Press.
Umbro, A. (2001). Futurist Manifestos. New York, NY: MFA
Publications.
