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

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Chapter Summary

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.



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