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Between the Black Box and the White CubeExpanded Cinema and Postwar Art$
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Andrew V. Uroskie

Print publication date: 2014

Print ISBN-13: 9780226842981

Published to Chicago Scholarship Online: September 2014

DOI: 10.7208/chicago/9780226109022.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 30 November 2021

: Leaving The Movie Theater

: Leaving The Movie Theater

Chapter:
(p.53) 2: Leaving The Movie Theater
Source:
Between the Black Box and the White Cube
Author(s):

Andrew V. Uroskie

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226109022.003.0003

For decades, the canonical histories of postwar avant-garde cinema have begun with the “mythopoetic” and “visionary” ideas of Deren and Brakhage, in utter neglect of the radical Lettrist cinema by which Brakhage was himself inspired. This chapter explores the brief flowering of Lettrist cinema in Paris of the early ‘50s as establishing the aesthetic and theoretrical foundation of the Expanded Cinema and intermedia practices of the 1960s and ‘70s. Isidore-Isou’s Treatise on Slobber and Eternity (1951) inaugurates the movement with its conception of a radically disjunctive aesthetics, prefiguring both the sound/image mismatch of Jean-Luc Godard and the critical film essays of Chris Marker. Maurice Lemaître’s Has the Film Begun? (1952) extends this disjunctive conception to cinema’s theatrical situation, presenting an idea of synthetic cinema-performance which frustates the distinction between the local and cinematic space.

Keywords:   French Film History, Lettrism, Situationism, Isidore Isou, Maurice Lemaître, Film Exhibition, Performance

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