Analysis Of The Avant-Garde Cinema

Film-theory is in some aspects a very fickle research field. It concerns itself with a relatively new technology and as an academic field it does not exactly stand on its own. Like literature, academic research in film has to be a combination of various other research fields to give appropriate answers to the issues and questions of film studies. In a way, experts within film studies have to develop theory from a variety of other fields, such as psychology, sociology, economics or statistics to name a few. That is, if they want to produce theory that can be generalized for film study and as such it seems a gargantuan task. A cornerstone of film studies has been and still is, David Bordwell. Despite the film industry having developed aggressively

Not just a temporal re-ordering of a film, but rather films of a more avant-garde style that cannot be interpreted by previous experience. In a general sense, avant-garde cinema will break conventions and as such it could be explained as their use of unique semiotics, often being what differentiates the films that fall under that category. The conventional production techniques are still used within the Avant-garde, but the stark differences to what normative spectators expect is where we find this kind of disconnect. Usually this comes from the vision of the director, but the issue here is that if it truly is Avant-garde, a spectator can then only truly learn the codified semiotics per director and thus has to re-learn a style with each different director to comprehend the film. Hence a semiotic explanation to this could be argued to be too simplistic, it is not merely acquiring the new code-based schemata, because truly avant-garde films will not have the same codification. It is given that it might be possible to construct a semiotic theory that could deal with the Avant-garde, but it would only work in retrospect, as there would have to be produced enough films within a period of time that are considered Avant-garde for their time, to then gather the data to give some sort general overview of semiotics to look for. However, a kind of inferential-based model is likely a better fit for the abstract Avant-garde (Peterson, 1996, 112-113), as Peterson argues because this could - within reason - give parameters for spectators to identify so as to discuss the Avant-garde with at least some sort of common understanding. That it would be necessary to somehow alter the approach of the schemata from Bordwell, provides further evidence that the spectator does not simply apply real-world