Paris – Berlin – Moscow: On the Montage Aesthetic in the City Symphony Films of the 1920s

in Avant-Garde Film
Restricted Access
Get Access to Full Text

Subject Highlights


Though the montage aesthetic exhibited in the city symphony films of the 1920s was hardly an innovation in the arts on a general level, it has particular significance in connection with the subject matter of the films in question: as an expression of urban modernity, it played by far the greatest role in defining film as a “modern” art form. This chapter seeks out the specifically artistic and avant-gardistic character of filmic montage, a quality denied by theorists of the avant-garde.

Table of Contents




All Time Past Year Past 30 Days
Abstract Views 36 36 11
Full Text Views 13 13 7
PDF Downloads 8 8 6
EPUB Downloads 0 0 0

Related Content