‘Cinema’ as a Modernist Conception of Motion Pictures
Keywords:avant-garde film, postcinema, film ontology, digital cinema
In the 1960s and 1970s the Clement Greenberg’s Modernist ideology of ‘purity’ played a central role in the definition of ‘avant-garde cinema’ as a serious, major genre of film. This transfer between ‘fine art’ and ‘avant-garde film’ was articulated as ‘structural film’ by P. Adams Sitney. This heritage shapes contemporary debates over ‘postcinema’ as digital technology undermines the ontology and dispositive of historical cinema. Its discussion here is not meant to reanimate old debates, but to move past them.
Article received: March 12, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paper
How to cite this article: Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies 16 (2018): 55−67. doi: 10.25038/am.v0i16.254
Balsom, Erika. “Brakhage’s Sour Grapes, or Notes on Experimental Cinema in the Art World.” MIRAJ, Moving Image Review & Art Journal 1, 1 (2012): 13–25. doi: 10.1386/miraj.1.1.13_1 DOI: https://doi.org/10.1386/miraj.1.1.13_1
Bardèche, Maurice and Robert Brasillach. The History of Motion Pictures. New York: Norton, 1938. DOI: https://doi.org/10.2307/2261887
Bazin, André. “Ontology of the Photographic Image,” trans. Hugh Gray. Film Quarterly 13, 4 (Summer, 1960): 4–9. DOI: https://doi.org/10.2307/1210183
Bazin, André. What is Cinema?. Trans. Timothy Barnard. Montreal: Caboose, 2009. DOI: https://doi.org/10.7202/039279ar
Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film (Enlarged Edition). Cambridge: Harvard University Press, 1979.
Gaudreault, André, Philippe Marion, Timothy Barnard. Kinematic Turn: Film in the Digital Era and Its Ten Problems. Montreal: Caboose Books, 2012.
Gaudreault, André. Film and Attraction: From Kinematography to Cinema. Translated by Timothy Barnard. Chicago: University of Illinois Press, 2011.
Greenberg, Clement. “Modernist Painting.” In Clement Greenberg: The Collected Essays and Criticism, Volume 4, edited by John O’Brian, 86–90. Chicago: University of Chicago Press, 1993.
Hagener, Malte, Vinzenz Hediger, Alena Strohmaier, ed., The State of Post-Cinema. Tracing the Moving Image in the Age of Digital Dissemination. London: Palgrave, 2016. DOI: https://doi.org/10.1057/978-1-137-52939-8
Hanhardt, John. “The Medium Viewed: The American Avant-Garde Film.” In A History of the American Avant-Garde Cinema. New York: The American Federation of the Arts, 1976, 19–47.
Hatfield, Jackie. “Expanded Cinema and Narrative.” Millennium Film Journal 39–40 (Winter 2003): 50–65.
Jacobs, Lewis. The Rise of the American Film. New York: Harcourt, Brace and Company, 1939/1948.
Johnson, C. B. Modernity Without a Project: Essay on the Void Called Contemporary. Brooklyn: Punctum Books, 2015. DOI: https://doi.org/10.2307/jj.2353983
Keedy, Jeffery. “Zombie Modernism.” In Texts on Type: Critical Writings on Typography, edited by Steven Heller and Philip B. Meggs, 159–67. New York: Allworth Press, 2001.
Owens, Craig. “The Discourse of Others: Feminists and Post-Modernism.” In The Anti-Aesthetic: Essays on Postmodern Culture, edited by Hal Foster, 57–82. Seattle: The Bay Press, 1983.
Poggioli, Renato. The Theory of the Avant-Garde. Cambridge: Harvard University Press, 1968.
Ramsaye, Terry. A Million and One Nights. New York: Simon & Schuster, 1924.
Rushton, Richard. The Reality of Film: Theories of Filmic Reality. Manchester: University of Manchester Press, 2011. DOI: https://doi.org/10.7228/manchester/9780719082689.001.0001
Sherman, Tom. “Vernacular Video.” In Video Vortex Reader: Responses to YouTube, edited by Geert Lovink, and Sabine Niederer, 161–8. Amsterdam: Institute of Network Cultures, 2008.
Sitney, P. Adams. Visionary Film: The American Avant-Garde 1943–1978 (Second Edition). New York: Oxford University Press, 1979.
Sitney, P. Adams. “The Idea of Abstraction.” Film Culture 63–64, (1977): 1–24.
Small, Edward S. Direct Theory: Experimental Film/Video as a Major Genre. Carbondale: Southern Illinois University Press, 1994.
Weinbren, Grahame. “Post Future Past Perfect.” In Experimental Film and Video, edited by Jackie Hatfield, 3–17. Eastleigh: John Libbey Publishing, 2006.
Williams, Christopher. Realism and the Cinema: A Reader. London: Routledge, 1980.
How to Cite
Copyright (c) 2023 AM Journal of Art and Media Studies
This work is licensed under a Creative Commons Attribution 4.0 International License.
The content on this site is licensed under a Creative Commons Attribution 4.0 International License.
AM Journal of Art and Media Studies ISSN 2217-9666 - printed, ISSN 2406-1654 - online, UDK 7.01:316.774
Publisher: Faculty of Media and Communications, Singidunum University, Belgrade, Serbia
Indexed in: ERIH PLUS, EBSCO, DOAJ, and in The List of Scientific Journals Categorization of Ministry of Education, Science and Technological Development of Republic of Serbia (M24-2021). Beginning with No. 12 2017, AM is indexed, abstracted and covered in Clarivate Analytics service ESCI.