The film "Ballet mécanique" by Fernand Léger and Dudley Murphy, emblematic in the European Avant-garde, in my opinion is an interesting case study on the problem of the border, as it represents three different systems of border: between objects of the shooting, between artistic languages and between the framelines. It is a kind of Gesamtkunstwerk of modernity, Twentieth-century version of Wagnerian utopia of synthesis that includes cinema among the major arts. The first ones to imagine a different film are those artists who in the early 1910s experiment new forms of expression; cinema is subject of interest as moving image, the visible form of dynamics, rather than the sensation of reality.
Il film "Ballet mécanique" di Fernand Léger e Dudley Murphy, esemplare nell’ambito dell’avanguardia europea, a mio avviso costituisce un interessante case study sul problema del confine, in quanto rappresenta tre sistemi differenti di confine: tra gli oggetti della ripresa, tra linguaggi artistici e tra i margini del fotogramma. Si tratta di una sorta di Gesamtkunstwerk della modernità, versione novecentesca dell’utopia wagneriana di sintesi che riqualifica il cinema annoverandolo tra le arti maggiori. I primi ad immaginare un cinema diverso sono quegli artisti che nei primi anni dieci sperimentano nuove forme espressive; il cinema risulta oggetto d’interesse in quanto immagine in movimento, forma di dinamizzazione del visibile, più che per la sensazione di realtà.
Un ballo meccanico tra cinema e pittura / Catanese, Rossella. - STAMPA. - 1(2013), pp. 59-66.
Un ballo meccanico tra cinema e pittura
CATANESE, ROSSELLA
2013
Abstract
The film "Ballet mécanique" by Fernand Léger and Dudley Murphy, emblematic in the European Avant-garde, in my opinion is an interesting case study on the problem of the border, as it represents three different systems of border: between objects of the shooting, between artistic languages and between the framelines. It is a kind of Gesamtkunstwerk of modernity, Twentieth-century version of Wagnerian utopia of synthesis that includes cinema among the major arts. The first ones to imagine a different film are those artists who in the early 1910s experiment new forms of expression; cinema is subject of interest as moving image, the visible form of dynamics, rather than the sensation of reality.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.