Malevich y el cine

• Autores: François Albèra
• Localización: Archivos de la filmoteca: revista de estudios históricos sobre la imagen, ISSN 0214-6606, Nº 41, 2002, págs. 100-111
• Idioma: español
• Títulos paralelos:
  • Malevich and Film
• Enlaces
  • Texto Completo Ejemplar
• Resumen

  • Suprematist Russian painter Kasimir Malevich wrote three articles on Soviet Union film. Whereas most considered Soviet film quite innovative, Malevich, on the contrary, found it to be backward, especially in respect to how painting had developed.

    He felt that filmmakers remained imprisoned, so to speak, by naturalist representation coming out of the nineteenth century.

    He highlights Eisenstein and Vertov as the two who might be able to reach a post-cubist state of suprematist art. In his last –and only recently discovered– article, Malevich praises Vertov’s success in Chelovek S Kinoapparatom, which he deems worthy of futurism, while he condemns Eisenstein’s Staroye i novoye as quite disappointing. These three articles are very important for understanding the debate in the USSR, and there is no doubt that Eisenstein in particular tried to respond to them in several ways, among them with his theory on “intellectual cinema.”