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By Pavle Levi

Cinema by way of different capacity explores avant-garde endeavors to perform the cinema through the use of the fabrics and the concepts various from these as a rule linked to the cinematographic equipment. utilizing examples from either the ancient and the post-war avant-garde — Dada, Surrealism, Lettrism, “structural-materialist” movie, and extra — Pavle Levi finds a number bizarre and imaginitive ways that filmmakers, artists, and writers have reflected and created, played and remodeled, the “movies” without or with without delay grounding their paintings within the fabrics of movie. The research considers artists and theorists from far and wide Europe — France, Italy, Soviet Union, Germany, Hungary — however it rather foregrounds the context of the Yugoslav avant-garde. Cinema via different ability deals the English-language reader a radical explication of an collection of exceptionally Yugoslav inventive phenomena, resembling the Zenithist cine-writings of the Nineteen Twenties, the proto-structural Antifilm flow of the early Nineteen Sixties, and the “ortho-dialectical” film-poetry of the Seventies.

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Extra resources for Cinema by Other Means

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It is true that in the late 1960s and the 1970s, during the post-minimalist epoch, cinema’s conceptual expansion through film’s “dematerialization” gained much momentum, motivated as it was by a desire on part of many artists and filmmakers to subvert and move beyond the reigning, essentializing legacy of medium-specificity. But it is also true that, just as during the prewar years, many of the most innovative 1960s and 1970s endeavors to differentiate the concept of cinema from the actual cinematographic apparatus were at least as strongly expressive of their practitioners’ radicalized—even perverse— fidelity to the notion of medium-specificity.

Consider, for instance, the following excerpt from TABA CIKLON II, a sound poem by Dragan Aleksić, the leader of the Yugoslav Dadaists, which appeared in 1922 in the avant-garde journal Ma: AbU TABUATA AUBATAUBA taba re re re RE RE Rn Rn Rn Rn Reb en en Rn Ren RN Ren ErNReN abu tabu abua u tabu abuaaa abu tabu abaata babaata tabu tabauuuta taba Rn 17 CINEMA BY OTHER ME ANS tabaren tabararararan tabaren ENEN tabarerenn/parlevufranse/ With the exception of the last phrase (“parlez-vous francais,” spelled phonetically in the Serbo-Croatian language), each word and each sound functions as an entirely self-sufficient articulation not bound by meaning.

Hausmann even explicitly acknowledged that something of a prototype for the Optophone, this “ultimate” machine of the future, is to be found in the rather artisanal assemblage of the already existing technology— a telephone placed in the vicinity of a bulb: “If one places a telephone in the circuit of an arc lamp, the arc of light is transformed because of the sound waves that are transformed by the microphone in accordance with variations corresponding exactly to acoustic vibrations, that is to say, the rays of light change form in relation to sound waves.

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