By Kamila Kuc
Warsaw- and London-based filmmakers Franciszka and Stefan Themerson are frequently famous the world over as pioneers of the Nineteen Thirties Polish avant-garde. but, from the flip of the century to the tip of the Twenties, Poland’s literary and artwork scenes have been additionally generating a wealthy array of feedback and early experiments with the relocating picture that set the level for later advancements within the avant-garde. during this accomplished and obtainable learn, Kamila Kuc attracts on myriad undiscovered archival assets to inform the background of early Polish avant-garde movements―Symbolism, Expressionism, Futurism, and Constructivism―and to bare their effect on later practices in paintings cinema.
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Extra resources for Visions of Avant-Garde Film: Polish Cinematic Experiments from Expressionism to Constructivism
In his argument for the connection between documentary and avant-garde film, Nichols points out four elements that contributed to the formation of a documentary film wave. ”72 This element is most crucial in Matuszewski’s work. ”73 His proposal concerning the importance of preserving aspects of army life also points toward this reasoning. 74 In this vein, in 1900 Robert W. 76 Matuszewski saw the cinematograph as playing an important part in the process of creating a new national consciousness and cultural identity for the Poles.
The first model was the outcome of romanticism and was to serve the country’s ideological needs. 2 Both trends existed within the Young Poland movement, but the latter is more relevant to the assessment of avant-garde film tendencies because of its emphasis on a modernist work of art as an autonomous creation. However, to begin with, as a consequence of Poland’s unprivileged political position in the late nineteenth century, Polish film discourse had one major function which fitted Wyka’s first model: to strengthen feelings of nationhood.
3 Nonetheless, this lack of primary material poses serious obstacles in negotiating the filmmaker’s place within the history of avant-garde film. One might argue that any critical judgment of Kuczkowski’s work is conjectural. Stressing the importance of the “protocinematic” phase during which films often existed in the form of unrealized projects, I argue for the consideration of Kuczkowski’s films, as well as his noncinematic interventions, as part of the history of avantgarde film.