David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Journal of Aesthetic Education 45 (2):1-16 (2011)
The most important modes of film practice, in my view, are art-house cinema and the avant-garde, both of which contrast with the classical Hollywood mode of film practice. While the latter is characterized by its commercial imperative, corporate hierarchies, and a high degree of specialization as well as a division of labor, the avant-garde is an “artisanal” or “personal” mode. Avant-garde films tend to be made by individuals or very small groups of collaborators, financed either by the filmmakers alone or in combination with private patronage and grants from arts institutions. Such films are usually distributed through film cooperatives and exhibited by film societies, museums, and universities. (Consequently ..
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Jesse Prinz (2011). When is Film Art? Revue Internationale de Philosophie 4:473-485.
J. Remes (2012). Motion(Less) Pictures: The Cinema of Stasis. British Journal of Aesthetics 52 (3):257-270.
Gerald Keaney (2011). A New Avant-Garde? Rethinking Marxism 23 (4):556-564.
Paula Rabinowitz (2001). Medium Uncool: Women Shoot Back; Feminism, Film and 1968 — A Curious Documentary. Science and Society 65 (1):72 - 98.
Daniel Alan Herwitz (1993). Making Theory/Constructing Art: On the Authority of the Avant-Garde. University of Chicago Press.
Andrew E. Benjamin (1991). Art, Mimesis, and the Avant-Garde: Aspects of a Philosophy of Difference. Routledge.
Philippe Sers (2002). Point de vue critique: Avant-garde radicale et avant-garde contemporaine en art. Cités 11 (11):107-115.
Antti Salminen (2010). From Avant-Garde to Para-Garde : "The Truth About Marika". In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
John Marmysz (2002). The Cutting Edge Between Trash Cinema and High Art. [REVIEW] Film-Philosophy 6 (8).
Dudley Andrew (2010). What Cinema Is!: Bazin's Quest and its Charge. Wiley-Blackwell.
Matei Călinescu (1987). Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism. Duke University Press.
Dominic McIver Lopes (2008). Nobody Needs a Theory of Art. Journal of Philosophy 105 (3):109-127.
Added to index2011-09-25
Total downloads25 ( #82,494 of 1,692,866 )
Recent downloads (6 months)3 ( #75,942 of 1,692,866 )
How can I increase my downloads?