Warsaw- and London-based filmmakers Franciszka and Stefan Themerson are often recognized internationally as pioneers of the 1930s Polish avant-garde. Yet, from the turn of the century to the end of the 1920s, Poland’s literary and art scenes were also producing a rich array of criticism and early experiments with the moving image that set the stage for later developments in the avant-garde. In this comprehensive and accessible study, Kamila Kuc draws on myriad undiscovered archival sources to tell the history of early Polish avant-garde movements—Symbolism, Expressionism, Futurism, and Constructivism—and to reveal their impact on later practices in art cinema.
Inhoudsopgave
Preface
Acknowledgments
Introduction
Part One: Proto-Cinematic Phase: The Pioneers (1896 – 1918)
1. ‘The Cinematograph’ and Historical Consciousness: Actualities and the Early Experiments with Film in the Polish Territories
2. Discovering Medium Specificity: The First Polish Claims for Film as Art
3. The First Polish Experiment with Film: Feliks Kuczkowski’s Animation in the Context of the International Avant-Garde
Part Two: Polish Avant-Garde Movements and Film (1919 – 1945)
4. Karol Irzykowski’s The Tenth Muse: Animated Film as the Highest Form of Film Art
5. The Theoretical Apparatus: Polish Futurism and Avant-Garde Film
6. Polish Avant-Garde Films, Discourses, and the Concept of Photogénie
7. Polish Avant-Garde Film and Constructivism
Conclusion
Selected Bibliography
Index
Over de auteur
Kamila Kuc is Postdoctoral Research Fellow in the Department of Media and Communications at Goldsmiths, University of London. A writer, experimental filmmaker and curator, she publishes widely on the subject of film and media. She has curated programs of experimental film for international film festivals and venues and her films have been screened at international film festivals. More information on her work can be found at her website: www.kamilakuc.com.
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