Camera and Canvas: Emmer, Storck, Resnais and the Post-war Art Film
Camera and Canvas: Emmer, Storck, Resnais and the Post-war Art Film
Referring to contemporaneous writings by Kracauer, Bazin and Malraux among others, the first chapter discusses the ‘Golden Age’ of the art documentary in the late 1940s and early 1950s. Supported by international institutions such as UNESCO and FIAF, a film d'art movement developed, which offered experimental filmmakers a platform to reflect on the relations between art and cinema. Focusing on films made by Emmer in Italy, Storck and Haesaerts in Belgium and Resnais in France, this chapter demonstrates how these filmmakers saw the genre of the art documentary as a means to investigate the boundaries of film by juxtaposing movement versus stasis, narrative versus iconic images, and cinematic space versus pictorial surface.
Keywords: Art Documentary, Art Film, André Malraux, Luciano Emmer, Alain Resnais, Henri Storck, Paul Haesaerts, Experimental Film
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