Bloomsbury and the Cinema: Practice and Theory of a New Form of Expression
Just as Bloomsbury introduced post-impressionism in Great Britain, the cinema was beginning to emerge as a new art, introducing new visual vocabularies and perceptions. Our aim is to analyse Bloomsbury’s ethics and aesthetics in relation with the new issues raised by the technology of the moving pic...
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| Format: | Article |
| Language: | English |
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Presses Universitaires de la Méditerranée
2005-12-01
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| Series: | Cahiers Victoriens et Edouardiens |
| Online Access: | https://journals.openedition.org/cve/13603 |
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| _version_ | 1832581319445446656 |
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| author | Floriane Reviron |
| author_facet | Floriane Reviron |
| author_sort | Floriane Reviron |
| collection | DOAJ |
| description | Just as Bloomsbury introduced post-impressionism in Great Britain, the cinema was beginning to emerge as a new art, introducing new visual vocabularies and perceptions. Our aim is to analyse Bloomsbury’s ethics and aesthetics in relation with the new issues raised by the technology of the moving pictures and the cross-fertilization between the terminology created by Bloomsbury and avant-garde film criticism. Bloomsbury’s own practice of film criticism was informed by formalism and abstraction and attests to a confluence between pictorial post-impressionism and cinematic expressionism. |
| format | Article |
| id | doaj-art-9dafbe8605094111bcf508cf5e97a2f7 |
| institution | Kabale University |
| issn | 0220-5610 2271-6149 |
| language | English |
| publishDate | 2005-12-01 |
| publisher | Presses Universitaires de la Méditerranée |
| record_format | Article |
| series | Cahiers Victoriens et Edouardiens |
| spelling | doaj-art-9dafbe8605094111bcf508cf5e97a2f72025-01-30T10:21:08ZengPresses Universitaires de la MéditerranéeCahiers Victoriens et Edouardiens0220-56102271-61492005-12-016210.4000/cve.13603Bloomsbury and the Cinema: Practice and Theory of a New Form of ExpressionFloriane RevironJust as Bloomsbury introduced post-impressionism in Great Britain, the cinema was beginning to emerge as a new art, introducing new visual vocabularies and perceptions. Our aim is to analyse Bloomsbury’s ethics and aesthetics in relation with the new issues raised by the technology of the moving pictures and the cross-fertilization between the terminology created by Bloomsbury and avant-garde film criticism. Bloomsbury’s own practice of film criticism was informed by formalism and abstraction and attests to a confluence between pictorial post-impressionism and cinematic expressionism.https://journals.openedition.org/cve/13603 |
| spellingShingle | Floriane Reviron Bloomsbury and the Cinema: Practice and Theory of a New Form of Expression Cahiers Victoriens et Edouardiens |
| title | Bloomsbury and the Cinema: Practice and Theory of a New Form of Expression |
| title_full | Bloomsbury and the Cinema: Practice and Theory of a New Form of Expression |
| title_fullStr | Bloomsbury and the Cinema: Practice and Theory of a New Form of Expression |
| title_full_unstemmed | Bloomsbury and the Cinema: Practice and Theory of a New Form of Expression |
| title_short | Bloomsbury and the Cinema: Practice and Theory of a New Form of Expression |
| title_sort | bloomsbury and the cinema practice and theory of a new form of expression |
| url | https://journals.openedition.org/cve/13603 |
| work_keys_str_mv | AT florianereviron bloomsburyandthecinemapracticeandtheoryofanewformofexpression |