Cinema by Other Means
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Cinema by Other Means explores avant-garde endeavors to practice the cinema by using the materials and the techniques different from those commonly associated with the cinematographic apparatus. Using examples from both the historical and the post-war avant-garde -- Dada, Surrealism, Letterism, "structural-materialist" film, and more -- Pavle Levi reveals a range of peculiar and imaginative ways in which filmmakers, artists, and writers have pondered and created, performed and transformed, the "movies" with or without directly grounding their work in the materials of film. The study considers artists and theorists from all over Europe --- France, Italy, Soviet Union, Germany, Hungary -- but it particularly foregrounds the context of the Yugoslav avant-garde. Cinema by Other Means offers the English-language reader a thorough explication of an assortment of distinctly Yugoslav artistic phenomena, such as the Zenithist cine-writings of the 1920s, the proto-structural Antifilm movement of the early 1960s, and the "ortho-dialectical" film-poetry of the 1970s.
entanglement between reality and cinematographic technology comes from Ljubomir Micić’s montage-driven typographic poem, “In the Name of Hundred Gods!” (1922) (fig. 2.5). In this Zenithist text, declarations, announcements, news-briefs, truncated ads, calls to revolutionary artistic and political action succeed each other in telegraphic fashion—rapidly, and by arriving from all sides and from all 35 CINEMA BY OTHER ME ANS Figure 2.3 Max Ernst, The Failed Immaculate Conception (plate 2 from 100
depths of Hypnison’s throat, the darkness and monstrosity instantaneously turn into the sky filled with stars and comets. What is thus implied is that the movement along the path which connects the external reality with Hypnison’s interior life—the movement along the path leading through his oral cavity—must have taken place in both directions simultaneously. The moment of reaching the deepest spheres of Hypnison’s interiority is the same as the moment of their externalization. The consequence of
surrounds her and moves to do so, in reality every movement is being planned for her and every action exists only for her approval. Thus order is reversed: it is reality which is set in motion by deft manipulation in order to be at the right place at the right time. As soon as she has passed them, actors jump up, throw off a costume or don another, run ahead of her along her planned path, and crouch down again ready for another fleeting close-up. . . . That is why the line of the track can be
Optophone. Recreating the spirit of The Exorcist, Jocić presents a detailed verbal depiction of the film-machine as itself a perverse and vulgar assemblage of libidinal protuberances holding together disparate fragments of significatory junk: Linda Blair L’Espresso reports it has become some sort of a ritual every night between assessing the Watergate Affair 102 G E N E R A L C I N E F I C AT I O N and Henry Kissinger’s travels all American television networks bring the latest on the film
Inquiry 25, no. 2 (Winter 1999): 296. 28. George Baker, “Entr’acte” October 105 (Summer 2003): 160. 29. In 1966, American avant-garde fi lmmaker Hollis Frampton entirely based his short work Information on precisely such an elementary defi nition of the cinema. In this fi lm, traces/circles of light—which could easily have been cast by a flashlight like the one seen in Portrait of Max Jacob—incessantly move across the screen. In Frampton’s own words, Information is: “Hypothetical ‘fi rst fi lm’