Зенитистичка филмска монтажа пре филма или Мицићево откриће водећег принципа авангарде
Abstract
In his analysis of Ljubomir Micic’s “Shimmy on the Cemetery of Quartier Latin” published in Zenit (no.12, March 1922) author takes into consideration that the concept of montage has been born in Berlin, in the photomontages of Grosz and Heartfield, in Moscow with the “montage film school” of Kuleshov, Eisenstein and Vertov, in Paris with Braque and Picasso, in the Kingdom of Serbs, Croats and Slovenes with Micić, Boško Tokin and the Zenit. At those points the new art has been promoted revealing the montage as general principle of the avantgarde as Micić’s text is the massive prediction of Eisenstein’s montage of attractions as a manner of visual thinking and making of an inner poetic language composed of images that are not only photographic, but mental as well. It was the crucial point of the grand artistic experiment of Eisenstein but the leading principle of the avantgarde in general. The filmmaking of Dušan Makavejev and his so called “Serbian cutting” can be seen as continuation of the ideas of both Micić and Eisenstein.
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