8/13/2019 The Futurist Cinema, 1916

1/5

8/13/2019 The Futurist Cinema, 1916

2/5

drama, $reat and mall. The ame cenario whoe bre#ity and #arietymay make it eem ad#anced i, in mot cae, nothin$ but the mot triteand piou analyi. There"ore all the immene artisticpoibilitie o" thecinema till ret entirely in the "uture. The cinema i an autonomou art.The cinema mut there"ore ne#er copy the ta$e. The cinema, bein$

eentially #iual, mut abo#e all "ul"ill the e#olution o" paintin$, detachitel" "rom reality, "rom photo$raphy, "rom the $race"ul and olemn. 'tmut become anti$race"ul, de"ormin$, impreionitic, ynthetic, dynamic,"ree-wordin$.

&ne mut "ree the cinema a an e%prei#e medium in order to make itthe ideal intrument o" a new art, immenely #ater and li$hter than allthe e%itin$ art. e are con#inced that only in thi way can one reachthatpolyexpressivenesstoward which all the mot modern artiticreearche are mo#in$. Today the Futurist cinemacreate preciely the

polye%prei#e ymphony that (ut a year a$o we announced in ourmani"eto /ei$ht, Meaure, and 6rice o" Artitic Geniu0. The mot#aried element will enter into the Futurit "ilm a e%prei#e mean)"rom the lice o" li"e to the treak o" color, "rom the con#entional line toword-in-"reedom, "rom chromatic and platic muic to the muic o"ob(ect. 'n other word it will be paintin$, architecture, culpture, word-in-"reedom, muic o" color, line, and "orm, a (umble o" ob(ect andreality thrown to$ether at random. e hall o""er new inpiration "or thereearche o" painter, which will tend to break out o" the limit o" the"rame. e hall et in motion the word-in-"reedom that mah the

boundarie o" literature a they march toward paintin$, muic, noie-art,and throw a mar#elou brid$e between the word and the real ob(ect.

&ur "ilm will be)

1.Cinematic analogies that use reality directly asone of the two elements of the analogy.Example: If we should want to express theanguished state of one of our protagonists, instead

of describing it in its various phases of suffering,we would give an equivalent impression with thesight of a jagged and cavernous mountain. Themountain, ea, wood, citie, crowd, armie, *uadron,aeroplane will o"ten be our "ormidable e%prei#e word) theuni#ere will be our #ocabulary. E%ample) e want to $i#e aenation o" tran$e cheer"ulne) we how a chair co#er "lyin$comically around an enormou coat tand until they decide to (oin.e want to $i#e the enation o" an$er) we "racture the an$ry maninto a whirlwind o" little yellow ball. e want to $i#e the an$uih o"

a hero who ha lot hi "aith and laped into a dead neutralkepticim) we how the hero in the act o" makin$ an inpired

8/13/2019 The Futurist Cinema, 1916

3/5

peech to a $reat crowd7 uddenly we brin$ on Gio#anni Giolitti whotreaonably tu"" a thick "ork"ul o" macaroni into the hero8 mouth,drownin$ hi win$ed word in tomato auce. e hall add color tothe dialo$ue by wi"tly, imultaneouly howin$ e#ery ima$e thatpae throu$h the actor8 brain. E%ample) repreentin$ a man

who will ay to hi woman) /9ou8re a lo#ely a a $a5elle,0 we hallhow the $a5elle. E%ample) i" a character ay, /' contemplate your"reh and luminou mile a a tra#eler a"ter a lon$ rou$h tripcontemplate the ea "rom hi$h on a mountain,0 we hall howtra#eler, ea, mountain. Thi i how we hall make our character aundertandable as if they talked.

2.Cinematic poems, speeches, and poetry.We shallmake all of their component images pass acrossthe screen. E%ample) /Canto dell8amore0 :Son$ o" 2o#e; by

Giou< Carducci) 'n their German tron$hold perched 2ike "alconmeditatin$ the hunte hall how the tron$hold, the "alcon in

ambuh. From the churche that raie lon$ marble arm to hea#en,in prayer to God 6rom the con#ent between #illa$e and towncrouchin$ darkly to the ound o" bell like cuckoo amon$ "ar-

paced tree in$in$ boredom and une%pected (oy...e hall

how churche that little by little are chan$ed into implorin$women, God beamin$ down "rom on hi$h, the con#ent, thecuckoo, and o on. E%ample) /So$no d8Etate0 :Summer8 =ream;by Giou< Carducci) Amon$ your e#er-oundin$ train o" battle,>omer, ' am con*uered by the warm hour) ' bow my head in leep

on Scamander8 bank, but my heart "lee to the Tyrrhenian Sea.e

hall how Carducci wanderin$ amid the tumult o" the Achaian,de"tly a#oidin$ the $allopin$ hore, payin$ hi repect to >omer,$oin$ "or a drink with A(a% to the inn, The Red Scamander, and atthe third $la o" wine hi heart, whoe palpitation we ou$ht toee, 6op out o" hi (acket like a hu$e red balloon and "lie o#er theGul" &" Rapallo. Thi i how we make "ilm out o" the mot ecretmo#ement o" $eniu. Thu we hall ridicule the work o" thepa!it poet, tran"ormin$ to the $reat bene"it o" the public themot notal$ically monotonou weepy poetry into #iolent, e%citin$,and hi$hly e%hilaratin$ pectacle.

3.Cinematic simultaneity and interpenetrationofdifferent times and places. We shall project two orthree different visual episodes at the same time,one next to the other.

4.Cinematic musical researchesdissonances,harmonies, s!mphonies of gestures, events, colors,

lines, etc.".

8/13/2019 The Futurist Cinema, 1916

4/5

5.Dramatized states of mind on film.6.Daily exercises in freeing ourselves from mere

photographed logic.7.Filmed dramas of objects. #bjects animated,

humani$ed, baffled, dressed up, impassioned,civili$ed, dancing%objects removed from theirnormal surroundings and put into an abnormalstate that, b! contrast, throws into relief theirama$ing construction and nonhuman life."

8.Show windows of filmed ideas, events, types,objects, etc.

9.Congresses, flirts, fights and marriages of funnyfaces, mimicry,etc. Example: a big nose thatsilences a thousand congressional fingers b!ringing an ear, while two policemen&s moustachesarrest a tooth.

10. Filmed unreal reconstructions of the humanbody.

11. Filmed dramas of disproportiona thirst! manwho pulls out a tin! drinking straw that lengthensumbilicall! as far as a lake and dries it upinstantly".

12. otential dramas and strategic plans offilmed feelings.

13. !inear, plastic, chromatic e"uivalences, etc.,of men, women, events, thoughts, music, feelings,weights, smells, noises with white lines on blackwe shall show the inner, ph!sical rh!thm of ahusband who discovers his wife in adulter! andchases the lover ' rh!thm of soul and rh!thm oflegs".

14. Filmed words#in#freedom in movements!noptic tables of I!ric values%dramas ofhumani$ed or animated letters%orthographicdramas%t!pographical dramas%geometric dramas

%numeric sensibilit!, etc.".6aintin$ ? culpture ? platic

dynamim ? word-in-"reedom ? compoed noie :intonarumori;

8/13/2019 The Futurist Cinema, 1916

5/5

? architecture ? ynthetic theatre @ Futurit cinema.Thi i how we decompoe and recompoe the uni#ere accordin$ to ourmar#elou whim, to centuple the power o" the 'talian creati#e $eniuand it abolute preeminence in the world.