| Summary: | The beginning of the 1920s was characterized by a political context that had an impact on the first developments in European cinema which was under pressure from the American film industry to reorganize its film production and distribution system. If the economic dimension was largely decisive in the construction of European cinema, which has been forced to revise its tariff and customs policies, we will also focus on the contradictions that have arisen from the demands of the avant-garde, which plead for an artistic international without necessarily giving up the quest for national heroism. The purpose of this paper is to look back at this particular moment in the history of cinema, the turning point of the 1920s, by considering the meeting of three historical forces. The first of them, of philosophical inspiration, imagined the return of the Kantian project for a European federalism, another analyzed the present politics of an international situation subject to a transformation of the world economy. The last one, finally, was defended by some filmmakers, critics and film theorists who dreamed of an artistic universalism.
|
|---|
