![]() Its use of non-linear sequence, of sudden cuts from one thing to another, precedes by a year or two Eisenstein's invention of montage in the cinema. ![]() It's worth remembering just how radical it was. People may still occasionally make disobliging remarks about Picasso, say, but we are used to TS Eliot's The Waste Land – it is assimilated, and no longer regarded as an awful warning of the debased, degenerate way in which things are heading. Indeed, most of the great works of 20th-century modernism have become part of the canon. S iegfried Sassoon once wrote a poem complaining about a concert whose audience listened to The Rite of Spring as if it were "by someone dead / like Brahms", instead of rioting and yelling abuse. ![]()
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