Cubism and Futurism: Spiritual Machines and the Cinematic Effect
591Cubism and Futurism: Spiritual Machines and the Cinematic Effect
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Overview
The cinema at this time was understood as an electric art, akin to X-rays, coloured light, and sonic energy. In this book, celebrated filmmaker and author Bruce Elder connects the dynamism that the cinema made an essential feature of the new artwork to the new science of electromagnetism. Cubism is a movement on the cusp of the transition from the Cartesian world of standardized Cartesian coordinates and interchangeable machine parts to a Galvanic world of continuities and flows. In contrast, futurism embraced completely the emerging electromagnetic view of reality.
Cubism, Futurism, and Technologies of the Spirit examines the similarity and differences between the two movements’ engagement with the new science of energy and shows that the notion of energy made central to the new artwork by the cinema assumed a spiritual dimension, as the cinema itself came to be seen as a pneumatic machine.
Product Details
ISBN-13: | 9781771122450 |
---|---|
Publisher: | Wilfrid Laurier University Press |
Publication date: | 06/30/2018 |
Series: | Film and Media Studies |
Pages: | 591 |
Sales rank: | 977,580 |
Product dimensions: | 6.00(w) x 9.00(h) x 2.00(d) |
About the Author
Table of Contents
Acknowledgements xi
Introduction 1
1 Modernism and the Visual Arts 35
Modernism and Abstraction 38
The Attributes of Aesthetic Experience 44
Optical Experience and the Higher Noesis 47
Producing Facts 51
Primordial Experience: A Non-reflexive, Pre-objective Awareness 65
The Influence of Emmanuel Kant 70
Basic Themes in Cubism and Futurism 85
The Senses' Disconnection from Reality 85
Time, Reality, and Meaning 89
Absolute Space, Relative Space 103
Nerves 114
Notes 119
2 Dudley Murphy, Fernand Leger, and Ballet Mécanique: Vorticism, Cubism, Collage, and Léger's New Realism 139
The New Vision 139
Prosthetics for the Senses: Reconciling Two Descriptions of the World 151
Cubism and the Crisis of Vision 155
Cubism and Passage 162
Understanding Simultaneity, Understanding Instantaneity 167
Cubist Painting Between Structure and Representation 170
The Transitional Phase: Towards Synthetic Cubism 172
Cubist Collage and Papier collé 176
Synthetic Cubism 183
Bergson's Importance for Cubism 190
Léger and Synthetic Cubism 199
Proceeding from Synthetic Cubism: Fernand Léger and the New Realism 200
Léger: Cubism, Quasi-Cubism, and Non-Cubism 202
Léger, the Object, and the Human Body 206
Léger and the "All-Over" Form 208
Léger's New Realism 211
Léger and the Theory of Contrasts 213
The Idea of the New Human and Its Contribution to Léger's Evolution 219
Equivalent to Life: Plastically Organized Intensity 221
Léger and Purism 228
Towards the Cinema: A Montage of Pre-existing Elements 235
Ballet mécanique and the Mechanical Ballet: Rhythm in Ballet mécanique 236
Diversity in Ballet mécanique 268
Another Appeal of the Cinema 270
Cubism, African American Art, and Infinite Plasticity 273
Cendrars and Léger on Language and Cinema 275
Léger's Collaborators 281
Another Key Collaborator: George Antheil 291
Pound's Antheil: Parallels Between the Film Ballet mécanique and Antheil's Theory of Composition 296
Pound, Antheil, Vorticism, and Harmony 302
A Mechanical Ballet: Music, Film, and Film Music 310
Shot Analysis of Ballet mécanique 318
Conclusion 318
Notes 321
3 Futurism 375
Futurism and New Italian Culture 379
Futurism: The Violence of the New Replacing the Old 381
Painting Becomes a Futurist Synthetic Art 385
Speed + Electricity + Collective Consciousness = Futurism 400
Futurism, Symbolism, Unanimism, and Bergson 404
Universal Dynamism and Perception 408
The Influence of Bergson 414
The Cinematic Condition of Futurism 419
Futurism's Occult New Man 423
Futurism, Electromagnetism, and the Issue of Homologies 458
The Futurist Theory of Perception 468
The Futurists, Universal Relations, and Space 476
Bergson, Symbolism, Unanimism, and Primordial Experience 479
The Serata futurista and the Variety Theatre 504
The Futurists' Dynamic View of Reality and Futurist Dynamism 513
The Serata futurista and the Cinema 518
Futurist Painting and Sonic Art 528
Futurism and the Cinema 538
Arnaldo Ginna, Bruno Corra, and Synaesthetic Cinema 552
Futurism and the Anti-anthropocentric Aspiration 568
In Lieu of a Conclusion 575
Notes 582
Index 643
Appendix: A Shot analysis of Ballet mécanique
Online at https://wlupress.wlu.ca/Books/C/Cubism-and-Futurism
Bibliography
Online at https://wlupress.wlu.ca/Books/C/Cubism-and-Futurism
Interviews
- Ideas on art, energy and electricity have assumed increasing importance in the digital age. I think this work lays the essential groundwork for understanding artistic developments in the second half of the twentieth century and the convictions out of which new media art would emerge.