To browse Academia. Each of the following people has helped me shape this project in different and subtle ways:. The tramp has become emblematic of the international language of film. Siegfried Kracauer, for example, regarded him as the personification of the outcast, the pariah.
The image of the other, the stranger, is often used to delineate the social body from the outside, i. Therefore, the question arises as to how the character of the stranger helped define the boundaries of universality, not from without, but precisely from within?
Daniel Courbet, also of the C. The research was partly funded by a grant from the Australian Research Council. Film and Media Studies Journal. This book is about an uncharted relationship between the early cinema and the avant-garde in the period Thus, may be considered a kind of "prehistorical" era, preceding the "age of avant-garde film" in which filmmaking is recognized as a more available and visible means of avant-garde exploration.
By consequence, the age of cinema also appears as the ancient stratum underlying "expanded cinema" and contemporary art practices that developed in subsequent decades as artists moved beyond filmmaking to embrace moving-image installation, broadly speaking.
The driving conviction here is that the age of cinema contains unexplored areas that reveal new historical and formal relationships between early cinema and Cubist paintings, proto-Dada machine forms, and Dada acts of shock, media hybridity, and appropriation. This book's central aim is to make these relationships visible, and to rediscover the following truism on distinctly different grounds: that the early cinema not only shaped the culture and experience of urban modernity, but also played a significant role in the development of modern and avant-garde art.
