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LES AFFICHES DE CINÉMA DE L'AVANT-GARDE RUSSE
LES AFFICHES DE CINÉMA DE L'AVANT-GARDE RUSSE
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LES AFFICHES DE CINÉMA DE L'AVANT-GARDE RUSSE
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LES AFFICHES DE CINÉMA DE L'AVANT-GARDE RUSSE
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LES AFFICHES DE CINÉMA DE L'AVANT-GARDE RUSSE
LES AFFICHES DE CINÉMA DE L'AVANT-GARDE RUSSE
Magazine Article

LES AFFICHES DE CINÉMA DE L'AVANT-GARDE RUSSE

2014
Request Book From Autostore and Choose the Collection Method
Overview
Pour ses principaux promoteurs, Guéorgui et Vladimir Stenberg, il répond au projet d'une synthèse des arts qui rejette un art de chevalet périmé pour se faire « tableau de rue », tout à la fois réclame publique et discours politique. Machine à voir Pour les constructivistes, la fin de 1'« art sucré des esthètes » repose sur la réconciliation de l'art et de la technique. Support fonctionnel de communication, l'affiche de cinéma ne joue plus alors seulement le rôle d'outil de propagande mais sert de nouvelle machine à voir. Des corps servent de tapisseries aux images des films de manière comparable aux lettrages de certains titres, voire à la fumée qui s'échappe d'une pipe dans l'affiche d'Anatoly Belsky pour La Ripe du communard (1929) de Konstantin Mardzhanov.
Publisher
Positif Editions