The Formalist Cinematographic Theory: a Refined Thinking of the Expressionist Film Conception?

Alexia Gassin
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Abstract

Abstract According to many researchers, Russian formalists do not want to recognize the influence of German expressionism on their work. This statement leads to a distinction between both theories in many fields, such as the field of cinema. In this sense, it is common to read nuanced definitions of expressionism and formalism. The present article tends to verify the truthfulness of these definitions and to show that formalism could be an extension of expressionism through an analysis of two reference works: Expressionism and Film (Expressionismus und Film) (1926) by Rudolf Kurtz et The Poetics of Cinema (Поэтика кино) (1927).
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形式主义电影理论:表现主义电影观念的精细化思考?
许多研究者认为,俄罗斯形式主义者不愿意承认德国表现主义对他们作品的影响。这种说法导致两种理论在许多领域的区别,比如电影领域。从这个意义上说,我们通常会读到表现主义和形式主义的细微定义。本文试图验证这些定义的真实性,并通过对鲁道夫·库尔茨和电影诗学(Поэтика кино)(1927)的两部参考作品:《表现主义与电影》(1926)的分析,表明形式主义可能是表现主义的延伸。
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Motalka, or Time in Chiasmus: Viktor Shklovsky’s “Revolutionary Choice of the Past” Ornament as a formalist object Editorial: Workshop on European formalisms (Germanic countries and Eastern Europe) Formalism’ as an epistemological fact. Structural / Possible / Fictional: A few notes on the shift from structural poetics and stylistics to the theory of fictional worlds in the perspective of Lubomír Doležel’s work The Formalist Cinematographic Theory: a Refined Thinking of the Expressionist Film Conception?
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