‘The Purist Focus: Léger’s Theory of the Close-Up and Les Gueules Cassées’. / Townsend, Chris.

In: Angelaki: journal of the theoretical humanities, Vol. 16, No. 1, 2011, p. 161-180.

Research output: Contribution to journalArticle

Published

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‘The Purist Focus: Léger’s Theory of the Close-Up and Les Gueules Cassées’. / Townsend, Chris.

In: Angelaki: journal of the theoretical humanities, Vol. 16, No. 1, 2011, p. 161-180.

Research output: Contribution to journalArticle

Harvard

Townsend, C 2011, '‘The Purist Focus: Léger’s Theory of the Close-Up and Les Gueules Cassées’', Angelaki: journal of the theoretical humanities, vol. 16, no. 1, pp. 161-180.

APA

Townsend, C. (2011). ‘The Purist Focus: Léger’s Theory of the Close-Up and Les Gueules Cassées’. Angelaki: journal of the theoretical humanities, 16(1), 161-180.

Vancouver

Townsend C. ‘The Purist Focus: Léger’s Theory of the Close-Up and Les Gueules Cassées’. Angelaki: journal of the theoretical humanities. 2011;16(1):161-180.

Author

Townsend, Chris. / ‘The Purist Focus: Léger’s Theory of the Close-Up and Les Gueules Cassées’. In: Angelaki: journal of the theoretical humanities. 2011 ; Vol. 16, No. 1. pp. 161-180.

BibTeX

@article{45086b8655e74c40b26c00fb2ec4466b,
title = "{\textquoteleft}The Purist Focus: L{\'e}ger{\textquoteright}s Theory of the Close-Up and Les Gueules Cass{\'e}es{\textquoteright}",
abstract = "This paper examines the apparent contradictions between the use of the fragmented close-up in Fernand L{\'e}ger's film Ballet m{\'e}canique (1924) and his depiction of the cohesive face in his painting in the early 1920s. I argue that this paradox stems from L{\'e}ger's seeing, in certain pre-war movements whose aesthetics were premised on fragmentation, an endorsement of the supreme value of technology and modernity to the human subject, and of the suborning of that subject to industrial modernity, with all the catastrophic human consequences that were then witnessed in the First World War. These “aesthetics of fragmentation“ are then compared and contrasted with Purism's post-war reconciliation of “man“ as a cohesive being, achieved through its conservative revision of modernist aesthetics. This critique is effected through the “portmanteau“ of Ballet m{\'e}canique, which is effectively an assemblage of different pre-war modernist aesthetics contrasted with Purist depictions of cohesive form.",
author = "Chris Townsend",
year = "2011",
language = "English",
volume = "16",
pages = "161--180",
journal = "Angelaki: journal of the theoretical humanities",
issn = "0969-725X",
publisher = "Taylor and Francis Ltd.",
number = "1",

}

RIS

TY - JOUR

T1 - ‘The Purist Focus: Léger’s Theory of the Close-Up and Les Gueules Cassées’

AU - Townsend, Chris

PY - 2011

Y1 - 2011

N2 - This paper examines the apparent contradictions between the use of the fragmented close-up in Fernand Léger's film Ballet mécanique (1924) and his depiction of the cohesive face in his painting in the early 1920s. I argue that this paradox stems from Léger's seeing, in certain pre-war movements whose aesthetics were premised on fragmentation, an endorsement of the supreme value of technology and modernity to the human subject, and of the suborning of that subject to industrial modernity, with all the catastrophic human consequences that were then witnessed in the First World War. These “aesthetics of fragmentation“ are then compared and contrasted with Purism's post-war reconciliation of “man“ as a cohesive being, achieved through its conservative revision of modernist aesthetics. This critique is effected through the “portmanteau“ of Ballet mécanique, which is effectively an assemblage of different pre-war modernist aesthetics contrasted with Purist depictions of cohesive form.

AB - This paper examines the apparent contradictions between the use of the fragmented close-up in Fernand Léger's film Ballet mécanique (1924) and his depiction of the cohesive face in his painting in the early 1920s. I argue that this paradox stems from Léger's seeing, in certain pre-war movements whose aesthetics were premised on fragmentation, an endorsement of the supreme value of technology and modernity to the human subject, and of the suborning of that subject to industrial modernity, with all the catastrophic human consequences that were then witnessed in the First World War. These “aesthetics of fragmentation“ are then compared and contrasted with Purism's post-war reconciliation of “man“ as a cohesive being, achieved through its conservative revision of modernist aesthetics. This critique is effected through the “portmanteau“ of Ballet mécanique, which is effectively an assemblage of different pre-war modernist aesthetics contrasted with Purist depictions of cohesive form.

M3 - Article

VL - 16

SP - 161

EP - 180

JO - Angelaki: journal of the theoretical humanities

JF - Angelaki: journal of the theoretical humanities

SN - 0969-725X

IS - 1

ER -