I. Is the Avant-Garde Still Present in
Contemporary Art and Cinema?
Contemporary Art and Cinema?
When technology can now easily replicate past avant-garde experiments—and even generate innovations that rival human creativity- is the very idea of being 'avant-garde' facing an identity crisis?
This video essay, developed as part of my undergraduate project, explores the relevance of the avant-garde in contemporary society. It begins by examining the origins and defining characteristics of the avant-garde genre before investigating its influence on modern artistic practices. Finally, it analyzes the application of avant-garde elements across various fields, including film, queer culture, and pop music in our current society.
This project was initially designed with two options: students could either write a 2,500-word essay or create a 10-minute video essay. I chose the latter because I felt that visual storytelling would bring the subject to life in a more dynamic and engaging way. There’s something about the interplay of images, sound, and rhythm that makes certain ideas feel more immersive and visceral than words alone can convey. Plus, I’ve always enjoyed the process of video editing—piecing together clips, experimenting with pacing, and finding ways to make complex concepts not just understandable, but visually compelling and fun to watch.
The most challenging aspect of this project was collecting and organizing materials. The final video essay incorporates clips from 18 films, spanning different periods of avant-garde cinema. It includes early works by Maya Deren and Len Lye, mid-century films such as Little Stabs at Happiness, later experimental pieces like Windowlicker, and contemporary films such as Poor Things. By juxtaposing these works, I aimed to provide a clear and immersive exploration of how avant-garde ideologies have evolved across different eras, allowing viewers to visually grasp the defining characteristics of avant-garde cinema.
This project was initially designed with two options: students could either write a 2,500-word essay or create a 10-minute video essay. I chose the latter because I felt that visual storytelling would bring the subject to life in a more dynamic and engaging way. There’s something about the interplay of images, sound, and rhythm that makes certain ideas feel more immersive and visceral than words alone can convey. Plus, I’ve always enjoyed the process of video editing—piecing together clips, experimenting with pacing, and finding ways to make complex concepts not just understandable, but visually compelling and fun to watch.
The most challenging aspect of this project was collecting and organizing materials. The final video essay incorporates clips from 18 films, spanning different periods of avant-garde cinema. It includes early works by Maya Deren and Len Lye, mid-century films such as Little Stabs at Happiness, later experimental pieces like Windowlicker, and contemporary films such as Poor Things. By juxtaposing these works, I aimed to provide a clear and immersive exploration of how avant-garde ideologies have evolved across different eras, allowing viewers to visually grasp the defining characteristics of avant-garde cinema.
Creating this video essay was both a challenge and a deeply fulfilling experience because it required me to communicate my ideas not only with clarity but also with impact through purely visual and auditory elements. I needed to ensure that my editing choices were both compelling enough to engage the viewer and imbued with a strong artistic sensibility. At the same time, I continuously worked toward striking a balance between intellectual depth and a viewing experience—one that I hope would fully resonate with the audience—which was something I continuously worked toward throughout the process. Overall, the result is compelling, but I believe there is still room for improvement—for example, in refining the pacing and transitions, as some shots linger longer than necessary.
One of the biggest challenges was fine-tuning the pacing, sound design, and ensuring smooth transitions between scenes. Every cut needed to feel natural, and every audio cue had to seamlessly integrate into the rhythm of the piece. There were moments when I found myself stuck, replaying sequences over and over again, searching for the perfect flow. The process was at times frustrating, and the final product is not without its imperfections, but I’m proud of the cohesiveness I was able to achieve. That said, as I look back on the work, I see ways to refine it even further—polishing certain sequences, sharpening visual metaphors. This project was more than just an academic assignment for me; it was a personal exploration of how film can function as a language of its own. I know this is just the beginning of my journey in refining my voice as a visual storyteller, and I look forward to continuing to grow in this craft.
One of the biggest challenges was fine-tuning the pacing, sound design, and ensuring smooth transitions between scenes. Every cut needed to feel natural, and every audio cue had to seamlessly integrate into the rhythm of the piece. There were moments when I found myself stuck, replaying sequences over and over again, searching for the perfect flow. The process was at times frustrating, and the final product is not without its imperfections, but I’m proud of the cohesiveness I was able to achieve. That said, as I look back on the work, I see ways to refine it even further—polishing certain sequences, sharpening visual metaphors. This project was more than just an academic assignment for me; it was a personal exploration of how film can function as a language of its own. I know this is just the beginning of my journey in refining my voice as a visual storyteller, and I look forward to continuing to grow in this craft.
@ Xinyu Zhang