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Which clippings match 'Lettrism' keyword pg.1 of 1
11 JULY 2013

Isidore Isou's influential Venom and Eternity

"This experimental film ('Venom and Eternity') by Isidore Isou constitutes the Letterist manifesto of film. Rejecting film conventions by 'chiseling' away at them, Isou introduced several new concepts, including discrepancy cinema where the sound track has nothing to do with the visual track. In addition, the celluloid itself was attacked with destructive techniques such as scratches and washing it in bleach. Causing a scandal at the 1951 Cannes Film Festival, this film was later introduced in the United States where it influenced avant–garde film makers such as Stan Brakhage."

(Internet Archive)

Fig.1 Isidore Isou (1951). Traité de bave et d'éternité. Venom And Eternity.

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TAGS

1951 • anarchism • artistic expressionavant-garde cinemaavant-garde film maker • bleach • celluloidcinema • cinema is dead • cinematic conventionsconventionsdeath of cinemadeath of the authordeface • destructive techniques • discrepancy cinema • Eric Rohmer • experimental filmformal workformalismGuy Debord • influential practitioners • influential worksInternet Archive • Isidore Isou • Jean Cocteau • letterist manifesto • lettrism • lettrist movement • Maurice Scherer • rejectionRomanian • Romanian filmmaker • scratches • situationism • situationistStan Brakhagestock footagesync sound • Venom and Eternity (1951)

CONTRIBUTOR

Simon Perkins
11 JULY 2013

Czech Film Posters of the 1960s

"The birth of the Czech creative film poster phenomenon in the early sixties can be credited to Karel Vaca, Karel Teissig, Richard Fremund, Vladimir Tesar, Jiri Balcar, Jaroslav Fiser, Zdenek Ziegler, Milan Grygar, Bedrich Dlouhy, Zdenek Palcr and others. In the late sixties and during the seventies they were joined by Josef Vyletal, Olga Polackova–Vyletalova, Jiri Rathousky, Alexej Jaros, Karel Machalek, Petr Pos, Jiri Salamoun, Vratislav Hlavaty, Zdenek Vlach and Antonin Sladek. In the streets, but soon also at film festival exhibitions, in art galleries and cinema premises, Czech film poster rapidly won the favor of the public for its creative imagination, poetic and lyrical atmosphere. It was characteristic by the use of collage, rollage, photomontage, retouching, striking graphic designs, wity typographic visual puns and surrealist dreamy interpretation. Mass reproductions of works of art flooded the billboards in towns and cities and changed them into sidewalk open air galleries. In the course of the 1960s, Czech film poster designers found inspiration in the informal style, applying its forms of structural abstraction and lettrism, later on in pop–art and op–art, using the then popular psychedelic forms and colors. Artists frequently employed styles inspired by the film forms, such as enlarged close–up, merging of symbolic and metaphoric visual levels and repeated details."

(Marta Sylvestrova, Museu de Arte de Macau)

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TAGS

1960s • Alexej Jaros • Andrzej Wajda • Antonin Sladek • artistic expression • Bedrich Dlouhy • collagecolour • cultural education • Czech film poster • Czech graphic design • Czech RepublicCzechoslovakiaexhibitionFederico Fellinifilm poster • film poster designer • graphic design • informal style • Ingmar Bergman • Jaroslav Fiser • Jiri Balcar • Jiri Rathousky • Jiri Salamoun • Josef Vyletal • Karel Machalek • Karel Teissig • Karel Vaca • lettrism • Luchino Visconti • Macau Museum of Art • mass reproduction • metaphoricmid-century design • Milan Grygar • Moravian Gallery in Brno • Museu de Arte de Macau • Olga Polackova-Vyletalova • op art • open air galleries • Paolo Pasolini • Petr Pos • photomontagepop art • psychedelic forms • psychedelic imagery • reproduction of illustrations • retouching • Richard Fremund • rollage • structural abstraction • surrealist inspiration • typographic poster • Vladimir Tesar • Vratislav Hlavaty • Zdenek Palcr • Zdenek Vlach • Zdenek Ziegler

CONTRIBUTOR

Simon Perkins
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