RTV Theory and Practice - Special Issue

108

In brief, the film age Ues between the age of Uterary language content and the age of audio-visual television content as a sort of connection and transitional form. Bio-polar Uterary expression is its characteristic. If shown in tabular form, this evolution goes from Uterary fdm content to non-Uterary television content, through various forms of expression (spoken language, the printed word, silent and talking fdm pictures, the television electronic picture) and, if we look at it globaUy, appears as foliows: 1. the age of the printed word ог: the age of given Uterary metaphoric contents 2. the age of silent and talking film pictures ог: the transihonal expressive age, from Uterary to audio-visual contents (due to which film language is never constituted on the principles of literary language in spite of every possible attempt to do so and which leads to the thesis that film surpasses language). The means of expression of this age аге silent and sound film pictures, always starting out from some given Uterary concept in order to create an autonomous film through an autonomous creative procedure. This autonomous film retains traditional metaphonc contents in this new material. . 3. the age of the television electronic picture or: the age of given electronic contents deprived of pre-text and metaphoric sub-text. Generations of avant-garde fUm-makers and fiim experimentaUsts, deenlv aware of the contradictory combination of a new expressive technique (which they now use) and traditional metaphonc contents (which they continue to use) within the newly established and specific film medium whose invention in the communications system Uterally heralded the century in which we Uve, could not accept this historical and dialectical position of the film medium, which is closely connected to literature, yet directed towards new matenal m both technique and means of expression. However, they had to tace many defeats anđ disappointments, often reaching practical and theoretical impasses from the invention of films themselves up to Ше present day, while looking for »pure film« deprived of Мегагу ingredients and unable to overcome the biopolar nature of cinemaUc expression. The avant-garde cinema never succeeded m attammg its aesthetic ideals although they fought like Don Quixote for many years and never admitted defeat. Those working for the young television medium are now able to reach their ideals almost with no effort (even when their ideas аге very conventional), by usmg the new electronic technique which, directly participating in some authendc and unique events from the direct cover of sports events to concerts, change the nature and framework of traditional audio-visual (film) expression in advance. This revoluUonary technique changed the forms of communicadon from a theoretical standpoint, and the following logical result from such a non-hterary