Soviet Cinema Avant-Garde: from Notional Reality to Life Material

The article emphasizes specific features of the Soviet film avant-garde 1920s. Whereas Western version did not trust physical reality, abandon it. On contrary, domestic turned its attention to surrounding reality and used it as building blocks new art. A historical becomes a artistic reality. In cinema, rejection past, which is traditional for art avant-garde, means theatrical cup-and-saucer plots, adaptations classical literature. Young filmmakers focus on under renovation. This far from being dead sets created sound-stage simpering characters; living stream city streets, objects faces. live human face also appears in mass, hero discovery cinema avant-garde. mass aware itself single body through acquisition face. It that faceless extras transform into multi-faceted diverse collective subject. author considered attainment one main findings based material films Eisenstein, Vertov, Ermler, Room, representatives FEKS association. rehabilitated all so-called "grassroots" genres performing arts primarily, circus buffoonery, demonstrating their possibilities expressing chooses strategies history modernity carnivalization tool mastering criticizing past. One can trace these system montage principles developed by Eisenstein Vertov dichotomy creation-destruction, life-death.