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Cubism and Futurism : spiritual machines and the cinematic effect /
At its inception, the cinema was understood by many to be an electric art, akin to X-rays, coloured light, and sostnic energy. This book examines the two movements' engagement with the Faraday and Maxwell's new science of energy, and shows energy came to be understood as a spiritual phenom...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Waterloo, Ontario :
Wilfrid Laurier University Press,
2018.
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| Colección: | Film + media studies.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Half Title; Title; Copyright; Dedication; CONTENTS; Acknowledgements; Introduction; 1 MODERNISM AND THE VISUAL ARTS; Modernism and Abstraction; The Attributes of Aesthetic Experience; Optical Experience and the Higher Noesis; Producing Facts; Primordial Experience: A Non-reflexive, Pre-objective Awareness; The Influence of Emmanuel Kant; Basic Themes in Cubism and Futurism; The Senses' Disconnection from Reality; Time, Reality, and Meaning; Absolute Space, Relative Space; Nerves; Notes.
- 2 DUDLEY MURPHY, FERNAND LÉGER, AND BALLET MÉCANIQUE: VORTICISM, CUBISM, COLLAGE, AND LÉGER'S NEW REALISMThe New Vision; Prosthetics for the Senses: Reconciling Two Descriptions of the World; Cubism and the Crisis of Vision; Cubism and Passage; Understanding Simultaneity, Understanding Instantaneity; Cubist Painting Between Structure and Representation; The Transitional Phase: Towards Synthetic Cubism; Cubist Collage and Papier collé; Synthetic Cubism; Bergson's Importance for Cubism; Léger and Synthetic Cubism; Proceeding from Synthetic Cubism: Fernand Léger and the New Realism.
- Léger: Cubism, Quasi-Cubism, and Non-CubismLéger, the Object, and the Human Body; Léger and the "All-Over" Form; Léger's New Realism; Léger and the Theory of Contrasts; The Idea of the New Human and Its Contribution to Léger's Evolution; Equivalent to Life: Plastically Organized Intensity; Léger and Purism; Towards the Cinema: A Montage of Pre-existing Elements; Ballet mécanique and the Mechanical Ballet: Rhythm in Ballet n mécanique; Diversity in Ballet mécanique; Another Appeal of the Cinema; Cubism, African American Art, and Infinite Plasticity; Cendrars and Léger on Language and Cinema.
- Léger's CollaboratorsAnother Key Collaborator: George Antheil; Pound's Antheil: Parallels Between the Film Ballet mécanique and Antheil's Theory of Composition; Pound, Antheil, Vorticism, and Harmony; A Mechanical Ballet: Music, Film, and Film Music; Shot Analysis of Ballet mécanique; Conclusion; Notes; 3 FUTURISM; Futurism and New Italian Culture; Futurism: The Violence of the New Replacing the Old; Painting Becomes a Futurist Synthetic Art; Speed + Electricity + Collective Consciousness = Futurism; Futurism, Symbolism, Unanimism, and Bergson; Universal Dynamism and Perception.
- The Influence of BergsonThe Cinematic Condition of Futurism; Futurism's Occult New Man; Futurism, Electromagnetism, and the Issue of Homologies; The Futurist Theory of Perception; The Futurists, Universal Relations, and Space; Bergson, Symbolism, Unanimism, and Primordial Experience; The Serata futurista and the Variety Theatre; The Futurists' Dynamic View of Reality and Futurist Dynamism; The Serata futurista and the Cinema; Futurist Painting and Sonic Art; Futurism and the Cinema; Arnaldo Ginna, Bruno Corra, and Synaesthetic Cinema; Futurism and the Anti-anthropocentric Aspiration.