Sökning: "Avant-garde film"
Visar resultat 1 - 5 av 9 avhandlingar innehållade orden Avant-garde film.
1. Film på konstmuseum : Nationalmuseums möten med filmmediet 1945–1950
Sammanfattning : This dissertation presents a number of previously-forgotten practices and ‘expected opportunities’ which surrounded film at the Swedish National Museum of Fine Arts (Nationalmuseum), between 1945 and 1950. The dissertation is structured around three projects and each project has its own chapter. LÄS MER
2. "Filmreformens förste avantgardist" : Experimentfilmaren Peter Kylberg
Sammanfattning : This dissertation is about the Swedish filmmaker, painter and composer Peter Kylberg (1938–). The study examines how Swedish film-cultural and film-political actors interacted with Kylberg in his ambition to create a particular type of expression in the film medium. LÄS MER
3. Post-Deleuzian Investigations of U.S. Avant-Garde Film, 1943–81
Sammanfattning : The aim of this dissertation is to investigate a number of U.S. avant-garde films using Deleuzian film-philosophy in order to describe their thought. I develop the taxonomy of cinematic images created by the French philosopher Gilles Deleuze by introducing a new type of image. LÄS MER
4. Figures of time : on the phenomenology of cinema and temporality
Sammanfattning : Image and time represent a favored issue among theorists and practitioners in the history of cinema, where discussion is related to the ingenious machine, the new art, as well as the experience of film. Looking back on this debate, and considering recent accounts of 'time-images,' it is striking to note how the problem has always oscillated between issues of the medium specific and issues of film experience; that is, the ontology of cinema as a time-bound medium, the quality of rhythm, duration, and recorded views, and, not least, the sensory and affective impact of mediated sound-images. LÄS MER
5. An anagram of the ideas of filmmaker Maya Deren : creative work in motion pictures
Sammanfattning : Maya Deren’s corpus of work, which has been given various designations within the American avant-garde filmmaking practice of the 1940’s and 1950’s, will be analysed according to the biographical legend—an approach that focuses on authorship within the historical conditions of conception and reception. Influences on her theories in art and ethnography will be noted through several historical discourses: the French Symbolist Poets, Henri Bergson, Kurt Koffka, T. LÄS MER