An Historical Examination of the Film Theories and Avant-Garde Mediation of Slavko Vorkapich in Hollywood
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Early film theorist Slavko Vorkapich, a talented European émigré who became one of the first avant-garde filmmakers in the United States, articulated his conception of cinema as a unique, distinctive artistic endeavor. I will historically examine extensive original primary archival materials from the Slavko Vorkapich Collection to historically contextualize his film theories, montage techniques, and investigate how he envisioned his cinematic philosophy and visual aesthetic in his theoretical writings on motion pictures regarding “Film As A Visual Language,” “The Motion Picture as an Art” and “Motion and the Art of Cinematography” in 1926 which he went on to stylistically employ in his independent avant-garde films, such as The Life and Death of 9413 – A Hollywood Extra (Slavko Vorkapich and Robert Florey [with Gregg Toland]; US, 1928), and in montage sequences for an extensive number of Hollywood studio films, including What Price Hollywood? (George Cukor, RKO Pathé; US, 1932). Vorkapich’s diverse array of work embodies the dynamic representation of his aesthetic philosophy encompassed in both his studio and independent productions. Notable is that he manages to successfully bridge the conceptual economic and artistic abyss between the dominant commercial industry and the avant-garde. Moreover, an analysis of montage sequences in the commercial film What Price
Abstract
Early film theorist Slavko Vorkapich, a talented European émigré who became one of the first avant-garde filmmakers in the United States, articulated his conception of cinema as a unique, distinctive artistic endeavor. I will historically examine extensive original primary archival materials from the Slavko Vorkapich Collection to historically contextualize his film theories, montage techniques, and investigate how he envisioned his cinematic philosophy and visual aesthetic in his theoretical writings on motion pictures regarding “Film As A Visual Language,” “The Motion Picture as an Art” and “Motion and the Art of Cinematography” in 1926 which he went on to stylistically employ in his independent avant-garde films, such as The Life and Death of 9413 – A Hollywood Extra (Slavko Vorkapich and Robert Florey [with Gregg Toland]; US, 1928), and in montage sequences for an extensive number of Hollywood studio films, including What Price Hollywood? (George Cukor, RKO Pathé; US, 1932). Vorkapich’s diverse array of work embodies the dynamic representation of his aesthetic philosophy encompassed in both his studio and independent productions. Notable is that he manages to successfully bridge the conceptual economic and artistic abyss between the dominant commercial industry and the avant-garde. Moreover, an analysis of montage sequences in the commercial film What Price
참고문헌 (19)
- Allen, Richard, "The Life and Death of 9413 - A Hollywood Extra", Framework, (21), pp.12~18 (1983)
- Denbo, Doris, "Extra No. 9413 is Snubbed: Maker of 100 Dollar Film Awaiting Big Opportunity", Hollywood Citizen, 4 May 1929, ~ (1929)
- Jewell, Richard B., "The RKO Story" (1982), Arlington Press
- Kelves, Barbara, "Slavko Vorbpich on Film as a Visual Language and as a Form of Art", Film Culture, 38, pp.1~46 (1965)
- "Montage - A Peek into the Future with Slavko Vorkapich", Cinema Progress 2.5, pp.18~21 (1937)
- Sitney, P. Adams, "Visionary Film : The American Avant-Garde 1943-1978" (1979), Oxford U P
- Swerdloff, Arthur L., "A Comparative Analysis of the Filmic Theories of Slavko Vorkapich with those of the Literary-Dramatic and the Documentary Filmmakers", Master, Department of Cinema, pp.1950
- Vorkapich, Slavko, "Cinematographic Annual, reprinted in Richard Koszarski. Hollywood Directors: 1914-1940" (1976), Oxford U P
- Vorkapich, Slavko, "Special Collections, Cinematic Arts Library", University of Southern California
- Vorkapich, Slavko, "A Fresh Look at the Dynamics of Filmmaking (lectures on “The Visual Nature of the Film Medium”)", American Cinematographer, 53(2), pp.223~ (1972)
- Vorkapich, Slavko. Lecture on Montage Theory, Museum of Modern Art Film Library’s"History of the Motion Picture, "Columbia University, New York, 20 December, "Museum of Modern Art Film Library’s “History of the Motion Picture,”" (1938), Columbia University
- Vorkapich, Slavko, "Motion and the Art of Cinematography", American Cinematographe, pp.10~11 (1926)
- Vorkapich, Slavko, "Motion in Motion Pictures", Film Mercury (3-17 September 1926), 1~12 (1926)
- Vorkapich, Slavko, "The Motion Picture as an Art", Film Mercury (29 October-12 November 1926), 4~16 (1926)
- Vorkapich, Slavko, "Interview by Ronald L. Davis. Transcript of Oral History Project" (1975), Southern Methodist University
- Vorkapich, Slavko, "Some Good Cuts and Some Not So Good", American Cinemeditor, (Spring), pp.4~5 (1972)
- Vorkapich, Slavko, "Toward True Cinema", American Cinematographer, 54(7), pp.884~890 (1973)
- Vorkapich, Slavko. Quoted in Bozidar Zevevic, "Slavko Vorkapich and Early American Film Theory" (1981), Institut za film
- Zevevic, Bozidar, "Archeology of Film Theory: Slavko Vorkapich, The First of the Independents", Framework 21, (Summer), pp.10~12 (1983)