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Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: "With a distinguished career as a filmmaker and critic, Elder(Ryerson Univ.) comes qualified to discuss this subject. In thisrich, complex book, he sets out to explore both the 'absolutefilm tradition' as it developed principally in Germany and France(particularly in the work of Walther Ruttman, Hans Richter andViking Eggeling) and the development of constructivism in theRussian tradition (especially in the work of SergeiEisenstein). Elder's masterful book is a must for everyoneinterested in cinematic modernism, particularly the early-20th-century European avant-gardes. Summing Up: Essential." - K.S.Nolley, Williamette University, Choice. Buchnummer des Verkäufers

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Ryerson University in hosting a symposium entitled The New Paragone: The Cinema and Vanguard Art Movements. Inspired by Harmony & Dissent the 3-day symposium examines Elder?s startling claims about the influence of early cinema on avant-garde art movements. There will be panel discussions with key figures in visual art and film, screenings, and a book launch. Visit the Symposium website for more details.

R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape.

To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity?s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of ?pneumatic (spiritual) epistemology.? Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, ?objectless? (non-representational) art and Russian Suprematism, Constructivism, and Productivism.

Inhaltsangabe:

R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape.

To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity?s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of ?pneumatic (spiritual) epistemology.? Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, ?objectless? (non-representational) art and Russian Suprematism, Constructivism, and Productivism.

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Elder, R. Bruce
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ISBN 10: 1554582261 ISBN 13: 9781554582266
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Buchbeschreibung Wilfrid Laurier University Press. PAPERBACK. Buchzustand: Good. 1554582261 Bumped and creased book with tears to the extremities, but not affecting the text block - GOOD. Buchnummer des Verkäufers Z1554582261Z3

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Buchbeschreibung Wilfrid Laurier University Press, 2010. Paperback. Buchzustand: Good. Item may show signs of shelf wear. Pages may include limited notes and highlighting. Includes supplemental or companion materials if applicable. Access codes may or may not work. Connecting readers since 1972. Customer service is our top priority. Buchnummer des Verkäufers mon0000735638

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Buchbeschreibung Buchzustand: New. Depending on your location, this item may ship from the US or UK. Buchnummer des Verkäufers 97815545822660000000

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Buchbeschreibung Paperback. Buchzustand: New. Buchnummer des Verkäufers 898925

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Buchbeschreibung Wilfrid Laurier University Press, 2010. PAP. Buchzustand: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Buchnummer des Verkäufers IB-9781554582266

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Buchbeschreibung 2010. PAP. Buchzustand: New. New Book.Shipped from US within 10 to 14 business days. Established seller since 2000. Buchnummer des Verkäufers IB-9781554582266

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Buchbeschreibung Wilfrid Laurier University Press, Canada, 2010. Paperback. Buchzustand: New. 224 x 152 mm. Language: English . Brand New Book. Ryerson University in hosting a symposium entitled The New Paragone: The Cinema and Vanguard Art Movements. Inspired by Harmony Dissent the 3-day symposium examines Elder s startling claims about the influence of early cinema on avant-garde art movements. There will be panel discussions with key figures in visual art and film, screenings, and a book launch. Visit the Symposium website for more details. R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of pneumatic (spiritual) epistemology. Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, objectless (non-representational) art and Russian Suprematism, Constructivism, and Productivism. Buchnummer des Verkäufers AAC9781554582266

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R. Bruce Elder
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Buchbeschreibung Wilfrid Laurier University Press, Canada, 2010. Paperback. Buchzustand: New. 224 x 152 mm. Language: English . Brand New Book. Ryerson University in hosting a symposium entitled The New Paragone: The Cinema and Vanguard Art Movements. Inspired by Harmony Dissent the 3-day symposium examines Elder s startling claims about the influence of early cinema on avant-garde art movements. There will be panel discussions with key figures in visual art and film, screenings, and a book launch. Visit the Symposium website for more details. R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of pneumatic (spiritual) epistemology. Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, objectless (non-representational) art and Russian Suprematism, Constructivism, and Productivism. Buchnummer des Verkäufers AAC9781554582266

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Elder, R. Bruce
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ISBN 10: 1554582261 ISBN 13: 9781554582266
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Buchbeschreibung Wilfrid Laurier University Press 2010-08-26, 2010. Buchzustand: New. Brand new book, sourced directly from publisher. Dispatch time is 24-48 hours from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely. Buchnummer des Verkäufers NU-ING-00512085

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R. Bruce Elder
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Buchbeschreibung Wilfrid Laurier University Press. Paperback. Buchzustand: New. Paperback. 540 pages. Dimensions: 8.8in. x 6.0in. x 1.3in.R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernitys cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of pneumatic (spiritual) epistemology. Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, objectless (non-representational) art and Russian Suprematism, Constructivism, and Productivism. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Buchnummer des Verkäufers 9781554582266

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