{"id":3469,"date":"2002-11-19T18:00:50","date_gmt":"2002-11-19T18:00:50","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=3469"},"modified":"2018-01-25T15:00:41","modified_gmt":"2018-01-25T15:00:41","slug":"early-avant-garde","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2002\/11\/19\/early-avant-garde\/","title":{"rendered":"The Early Avant-Garde"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p class=\"p1\"><b>THE EARLY AVANT-GARDE<br \/>\n<\/b><b> <\/b><b> <\/b><b>Tuesday 19 November 2002, at 6pm<br \/>\nGateshead BALTIC Centre<br \/>\n<\/b><\/p>\n<p class=\"p1\"><i>Diagonalsymfonin<\/i>, made in Berlin by Swedish painter Viking Eggeling is one of the earliest examples of \u2018visual music\u2019 or moving painting. G\u00f6sta Werner\u2019s <i>Midvinterblot<\/i>, a startling and realistic portrayal of Bronze Age human sacrifice, shocked audiences in the 1940s. In the post-war period, the film avant-garde was dominated by psychodramas such as <i>De Vita H\u00e4nderna<\/i> (a homemade 8mm version of the <em>Tristan and Isolde<\/em> legend) and the early films of author Peter Weiss (hallucinatory compositions of human bodies). <i>X<\/i>, by Moderna Museet director Pontus Hult\u00e9n, is a jazzy mixture of animation and found-footage. The final four films are \u2018city symphonies\u2019; portraits of the architecture and inhabitants of Stockholm, one of Europe\u2019s great cities. The down-trodden men of the old town are the subjects of the cinema-verite <i>Ansikten I Skugga<\/i> (<em>Faces in the Shadow<\/em>).<\/p>\n<p class=\"p1\"><strong>Viking Eggeling, Diagonalsymfonin, 1923-24, b\/w, silent, 8m<\/strong><br \/>\n<strong>G\u00f6sta Werner, Midvinterblot, 1945, b\/w, sound, 12m<\/strong><br \/>\n<strong>Rut Hillarp, De Vita H\u00e4nderna, 1950, b\/w, sound, 17m<\/strong><br \/>\n<strong>Peter Weiss, Studie I, 1952, b\/w, sound, 6m<\/strong><br \/>\n<strong>Peter Weiss, Studie II \/ Hallucinationer, 1952, b\/w, sound, 6m<\/strong><br \/>\n<strong>Peter Weiss, V\u00e4xelspel, 1955, b\/w, sound, 8m<\/strong><br \/>\n<strong>Pontus Hult\u00e9n, X, 1954, colour, sound, 7m<\/strong><br \/>\n<strong>Nils J\u00f6nsson, Morgon (Vision), 1949-56, b\/w, sound, 6m<\/strong><br \/>\n<strong>Kjell Nilsson, Storstadens F\u00f6tter, 1952, b\/w, sound, 5m<\/strong><br \/>\n<strong>Rolf Nilson &amp; Ralph Lundsten, Storstadens Puls, 1963, b\/w, sound, 3m<\/strong><br \/>\n<strong>Peter Weiss, Ansikten I Skugga, 1957, b\/w, sound, 12m<\/strong><\/p>\n<p><a href=\"#top\">Back to top<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[116],"tags":[],"class_list":["post-3469","post","type-post","status-publish","format-standard","hentry","category-oyvind-fahlstrom"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3469","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=3469"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/3469\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=3469"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=3469"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=3469"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}