Modernist film is related to the art and philosophy of
modernism.
History
Early modernist film came to maturity in the era between
WWI and
WWII, with characteristics such as
montage and symbolic imagery, manifesting itself in genres as diverse as
expressionism and
surrealism (as featured in the works of
Fritz Lang and
Luis Buñuel)[1] while postmodernist film – similar to
postmodernism as a whole – is a reaction to modernist works, and to their tendencies (such as
nostalgia and
angst).[2] Modernist cinema has been said to have "explored and exposed the formal concerns of the medium by placing them at the forefront of consciousness."[3] The
auteur theory and idea of an author creating a work from their singular vision became a central characteristic of modernist filmmaking. It has been said that "To investigate the transparency of the image is modernist but to undermine its reference to reality is to engage with the aesthetics of postmodernism."[4][5] The modernist film has more faith in the author, the individual, and the accessibility of reality itself (and generally has a more sincere tone[6]) than the
postmodernist film.
^Sollors, Werner (2008).
Ethnic modernism (First Harvard University Press paperback ed.). Cambridge, Mass. p. 8.
ISBN9780674030916.{{
cite book}}: CS1 maint: location missing publisher (
link)
^Murray, Robin L. (2011). That's all folks? : ecocritical readings of American animated features. Lincoln: University of Nebraska Press. pp. 85–89.
ISBN9780803235120.
Modernist film is related to the art and philosophy of
modernism.
History
Early modernist film came to maturity in the era between
WWI and
WWII, with characteristics such as
montage and symbolic imagery, manifesting itself in genres as diverse as
expressionism and
surrealism (as featured in the works of
Fritz Lang and
Luis Buñuel)[1] while postmodernist film – similar to
postmodernism as a whole – is a reaction to modernist works, and to their tendencies (such as
nostalgia and
angst).[2] Modernist cinema has been said to have "explored and exposed the formal concerns of the medium by placing them at the forefront of consciousness."[3] The
auteur theory and idea of an author creating a work from their singular vision became a central characteristic of modernist filmmaking. It has been said that "To investigate the transparency of the image is modernist but to undermine its reference to reality is to engage with the aesthetics of postmodernism."[4][5] The modernist film has more faith in the author, the individual, and the accessibility of reality itself (and generally has a more sincere tone[6]) than the
postmodernist film.
^Sollors, Werner (2008).
Ethnic modernism (First Harvard University Press paperback ed.). Cambridge, Mass. p. 8.
ISBN9780674030916.{{
cite book}}: CS1 maint: location missing publisher (
link)
^Murray, Robin L. (2011). That's all folks? : ecocritical readings of American animated features. Lincoln: University of Nebraska Press. pp. 85–89.
ISBN9780803235120.