Michael budget and the group of people

Michael O’pray sets
out in The Avant-Garde Film: Definitions”
from Avant-Garde Film: Forms, Themes and Passions to define the overall
meaning and understanding of Avant-garde in terms of cinema. Ian Christie
defined avant-garde as ” an essentially contested concept, always open to
dispute or redefinition”. But the definition is being contested in many
different aspects, and thus, according to O’pray “serves to remind us that
films are rarely made to comply to rigid categories or even social, political,
or cultural agendas”. As opposed to cinema and film, avant-garde was built on
the platforms of a smaller scale in terms of budget and the group of people it
appealed to. It became a more ‘personal’ and ‘artisanal’ genre of film. While
there is no understood definition that the reading comes too, it seems the reader
is able to come to his or her own conclusion of what avant-garde is. Avant-garde
is meant to be ahead of its time. It is meant to show the future of film
making, and it opened up the avenue for experimental filmmaking. Opray alludes
to Oskar Fischinger, an abstract animator who made it creating advertising
films in the 1920s, which also led to his involvement in the creation of Fantasia (1941). He explains how artists
such as Fischinger did not try to push for a career in the commercial field,
but rather wanted to create his own kind of art. In every avant-garde film,
there is a deep message to be understood from the artist.

In A Movie House is an Enlarged Camera Obscura
For The Sale of Popcorn Sidney Petersen in a very idiosyncratic style
builds a story on how his own idea of art was formed. Through artists like
Melies, Duchamp, Matisse, and Plateau, Petersen was able to tie together all of
these artists styles, and while some strayed away from the roots creating
something disastrous, others were able to become legends. He also talks about
the ideals of the anamorphoscope and uses it to describe how when one deviates
from the path only to come back, one becomes more appreciative of what is
original and true. In the efforts to understand avant-garde cinema, one can see
that any form of art is not always created by following the rules. Art is
created through failure and many years of hard work. Most artist become
renowned for their creations only by thinking outside the box. Artists like
Matisse and Picasso, Duchamp and Melies, created pieces by thinking about what
would anger and irritate people. This is how to create art and art in cinema,
by invoking a feeling in someone, and by finding the most interesting way to
invoke it.

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Opray and Petersen
both discuss the creation of art in a personal and emotional way. It seems that
the foundations of experimental cinema created the curve for all cinema in the
future, yet, corporations like warner brothers and Disney distorted the views
of art. The art of cinema is not adorned in the way it used to be. If we were
to bring back these ideals of experimental cinema, in present day, would the
film industry be different? Would it be as thriving as it is?