Paris avantgarde

Paris Avant-garde, experimental cinema. New points of view. Dialogues between disciplines.

In my previous response I aimed to an idea: How 20th century first decades literature challenges coexistwith improvements on narrative in moving images. I use the word coexist due to I’m not in the position to affirm if there’s a tangible feedback between disciplines, although I’m sure that all theartists were working in amalgam of ideas. same direction or

I considerer as keywords this topics: subjective, subconscious and multiple (also relative) points of views. This panorama put directly intoquestion the veracity of single point of view and mimesis of precedent naturalism.

Experimental films in 1920 decade were made basically by artists or people close to artistic circles (DavidCurtis); films were, as a consequence, close to art avant-gardes such Surrealism, Dada, Cubism, Expressionism, etc...Those artists approach the with more and more experiments on photography and narration.Reviewing D. Curtis work I noticed that experimental cinema is basically related to Surrealism and Dada, but I want to aim to writers as Joyce or Pessoa as challengers in narrative and consequentlyinfluencers in 1920-decade cinema.

In order to analyze the historical context regarding narrative I’d like to take a look over literature challenges around the first two decades of the century inorder to shape a bridge over two ways to telling stories. My bibliography is basically web-based so please considerer this text as a free essay, just for aim an idea, not for historically oraesthetically corroborate it.

I want to distinguish two groups. On one hand we have the surrealist writers and ideological godfathers: Apollinaire (1880 –1918) and Breton (1896 - 1966). The last one wasworking on a psiquiatrist military hospital during the war, getting close to Freud theories about sub-consciousness.

In 1920 he published "The magnetic fields", basically and statement about...