An auteurist orientation, therefore, is neither good nor bad, but it is certainly mismatched to an industry—especially during periods of robust growth—in which so-called “spectators’ cinema” [zritel’skoe kino] is in higher demand by producers.
Continue reading...“The Russian Avant-Garde Goes Underground”
Ingrid NordgaardOn Saturday, April 20, the Poets House hosted a panel discussion on the Russian Avant-Garde, co-sponsored by the Jordan Center. The panel consisted of Anthony Anemone, Polina Barskova, Ainsley Morse, Eugene Ostashevsky, Peter Scotto, Bela Shayevich, and Matvei Yankelevich, who all gave very interesting accounts of the works and philosophical thinking of Daniil Kharms, Vsevolod Nekrasov, Alexander Vvedensky, and other figures of the Russian avant-garde. Ranging from topics such as authorship, conceptualism, the challenges of translating, and objectification of language, the colloquium offered diverse and knowledgeable presentations to both academic experts and to those yet uninitiated into the absurd world of the Russian avant-garde.
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