Visions of Avant-Garde Film: Polish Cinematic Experiments from Expressionism to Constructivism

By Kamila Kuc | Go to book overview

Notes

Preface

1. My publication, co-edited with Michael O’Pray, The Struggle for Form: Perspectives on Polish Avant-Garde Film 1916–1989 (New York: Columbia University Press, 2014), addresses this gap in knowledge on a more general level.

2. See A. L. Rees, “The Themersons and the Polish Avant-Garde: Warsaw–Paris–London,” PIX 1 (1993): 86–109; and David Curtis, ed., Film as Film: Formal Experiment in Film 1910–1975 (London: Hayward Gallery, 1979). For an updated version of Rees’s essay, see A. L. Rees, “The Themersons and the Polish Avant-Garde: Warsaw–Paris–London. Introduction to the Revised Version,” in Kuc and O’Pray, Struggle for Form, 7–30.

3. Numerous Polish publications on the history of Polish cinema omit the subject of the interest of avant-garde artists in film. See, for example, Jerzy Toeplitz, Historia sztuki filmowej, vol. 3, 1928–1933 (Warsaw: Filmowa Agencja Wydawnicza, 1969); and Władysław Jewsiewiecki, Polska kinematografia w okresie filmu niemego 1895–1929/30 (Lodz: Polska Akademia Nauk, 1966).

4. See Ryszard Stanisławski, ed., Stefan i Franciszka Themerson: Poszukiwania wizualne / Stefan and Franciszka Themerson: Visual Researchers (Lodz: Muzeum Sztuki, 1981); and the most recent catalogue, Paweł Polit, ed., Franciszka and Stefan Themerson (Lodz: Muzeum Sztuki, 2013).

5. P. Adams Sitney, Visionary Film: The American Avant-Garde, 1943–2000 (Oxford: Oxford University Press, 2002).

6. Bruce Posner, ed., Unseen Cinema: Early American Avant-Garde Film 1893–1941 (New York: Anthology Film Archives, 2001), 39; and Jan-Christopher Horak, ed., Lovers of Cinema: The First American Film Avant-Garde 1919–1945 (Madison: University of Wisconsin Press, 1995).

7. For details on the Unseen Cinema collection, see http://www.unseen-cinema.com.

8. Zygmunt Korosteński, “Kinematograf—Fotografia ruchu i życia,” Dźwignia PrzemysłowoHandlowa Ilustrowana: Organ Oficjalny Towarzystwa Kupców i Przemysłowców, no. 16 (1896).

9. Bolesław Matuszewski, “Une nouvelle source de l’histoire: Création d’un dépôt de cinématographie historique,” trans. Julia Bloch Frey, Screening the Past, http://www.screeningthepast.com/2014/12/a-new-source-of-history-the-creation-of-a-depository-for-historicalcinematography-paris-1898/; and Bolesław Matuszewski, “La photographie animée, ce qu’elle est et ce qu’elle doit être,” trans. William D. Routt and Danielle Pottier-Lacroix, Screening the Past, http://www.screeningthepast.com/.

10. See Marek Haltof, Polish National Cinema (New York: Berghahn, 2002), 46–47; and Sheila Skaff, The Law of the Looking Glass: Cinema in Poland, 1896–1939 (Athens: Ohio University Press, 2008), 185.

11. Malcolm Turvey, Doubting Vision: Film and the Revelationist Tradition (Oxford: Oxford University Press, 2008), 3; and Laura Marcus, The Tenth Muse: Writing About Cinema in the Modernist Period (New York: Oxford University Press, 2007), 15.

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