Introduction
Mainstream is definable as an existing current of reflection (Todorov,1982). It may also be in relation to an activity or a sway. The modern avant-grade of the 1910 and 1920s were and are still very suspicious of the earlier conventions of the mainstream cinema conventions for a wide variety of reasons. These are based on sound evidence and material that is reasonable and critical to the success of all that has to be achieved by literally the parties involved. It is evident that the earlier convections in relation to mainstream cinema were based on human nature. It is depicted that women were not given the mandate of playing the roles that were perceived as men’s and instead they were supposed to play the roles that were meant to create pleasure.
Main body
Women’s images were supposed to be controlled and made to communicate to the viewers the “paradox crystallization” (Turvey, 1997). Such a concern is one of the various reasons that do revolve around the reasons behind the suspicions of the early conventions of the mainstream cinema by the modernist avant-garde of the 1910 and 20s. They are literally driven by the need of knowing the reasons behind the higher ranking of male characters and the degrading of females. The statement that women have always been the image when it comes to sexual matters in practical fields like sculpture and painting as well as in photography is what makes the modernist avant-garde to be suspicious of the mainstream early conventions.
According to Wilson, (1997), erotic roles that are within the character of the objects and the auditorium characters too do promote the suspicions that surround early conventions of mainstream Cinema. It does involve specific sections of the body of a female character that is used in the film for instance to create the pull effect. This makes the film to be captivating yet if it were a man who was given these roles then, it would not have been so. The modernists do argue that some character roles that required the body parts to be showcased allowed the presentation of women as various pieces as opposed to a whole self. It was true that men could not have played the role of a sexual accolade as it was dependent on how women characters were interwoven in it in relation to their roles and functions on the screen.
Wilson, (1997) maintains that the male protagonist roles did facilitate the questioning of the mainstream cinema early interventions as well by the modernist avant-garde. These males were brought out as the ones who used power and control that made the person watching the film gawk at the characters played by the males. Technical styles that were adopted in the cinematic film also did enhance the notion of the male protagonist roles. These styles enabled the seeing of women as objects of sex not only by the male character that showed lust for them but by the spectators as well. What did determine when males were going to be the protagonist, and when the females have to be the sexual objects, is what made the modernist avant-garde question the mainstream cinema early conventions. This was seen as favoritism and exploitation that made them come up with the modern technical styles concerning mainstream cinema.
Representation of modern-day film conventions is also one of the variables that made the modern avant-garde develop suspicions in relation to the earlier conventions of mainstream cinema. The major regard to the modernism in film technology is the realization of the newness. The cinema, film industry was growing, and it is still growing due to the changes in the world nature molding but the early conventions still existed in the mainstream cinema. Due to this resistance to change, the related parties did develop suspicions as it still grounded women to particular sides while men played the controlling protagonist roles still. Stam, (1989) maintains that the social kindred dislocations are the ones due to the metamorphosis of the modern world. And this is one of the reasons in the wake of the concerns of the modernist artists. It requires a current film to have juxtapositions of characters without any penchant in terms of gender. This and many other variables did facilitate the suspense that was developed by the modernist avant-garde in relation to the early conventions of mainstream cinema.
As suggested by Robert & Sandy (1992), the autonomy of the art subject is ought to be one of the reasons that too did lead to the suspicions in relation to the mainstream early conventions of theatre or cinema. The modernists were seeking the ways in which they could relay their modernity understanding through a way that did not deny the traditions a space to highlight them. They were not intending at providing a new dimension of the mainstream theatre, but they wanted to bring modernity into it as a new perspective of the tradition for the sole purpose of formulating the modernity and tradition relationship. The autonomy of the art was and is still one of the reasons that did lead to the buildup of the suspicions that the modernist of the 1910s and 1920s did have in relation to the earlier conventions of the mainstream cinema.
From Michele, (2004), Tradition rapture is also one of the key reasons behind the suspicion by the modernist avant-garde of the mainstream theatre. The work of the avant-garde was showcased by the drive to make a new and anti-traditional perspective. These people did fully reject the all-absolute artistic conventions and criteria and instead embraced “cerebral mischievousness and iconoclasm” in addition to perplexity. These variables were missing in the earlier convention of mainstream cinema hence it made the modernist avant-garde develop suspicions as to the credibility of the cinema then.
Dadaism which was practiced in the olden mainstream cinema was “boring and staid”. The seriousness that it was attached to it as well as a relic of coherence and its setting far from the daily social life was too an issue of debate. Out of this, the modern avant-verde wanted to introduce surrealism that did give room to performances and films, which were exciting to watch. They aspired to introduce jarring music, ridiculous and droll recitations as well as theatre performances that were graced by costumes. This amongst other reasons did make the practices in the earlier cinema to be boring hence; the suspicion of whether they reached out at all was born in the modernist avant-garde.
According to Gail and Jean, (2002), for the mainstream cinema to be allowed to use film, it embraced various strategies that included amongst others the vantage point strategy for the survivors. This involved having the protagonist survive through the hardships and bottlenecks until they won the battle (Williams, 1982). Such an experience was so positive and everybody wanted to watch the scenes once again hence it facilitated the usage of film.
It also did embrace the usage of women’s bodies as objects, (Geoffrey, 1999). This ensured they played roles that were meant to win over the confidence of not only the male actors but it too would pocket the audience. Such a strategy enabled the recording of all that was prepared for the mainstream cinema hence facilitating the penetration of the film technology into the venture.
Expressionism was one of the strategies that were used to facilitate the entrance of the film into cinema. Linda, Palmer & Schneider (2006), say it involved the targeting of the global appeal through the usage of” irrational and states of mind that are intuitive” in nature. This involved the opening of the general world to hyperbole more of gestures as well as emotional depictions and free space that was negative to the sleaze of the societal order. The idea of opening up the prior limited fields in filming did facilitate the penetration of the filming of cinematic concerns that were to be shown afterward. This and many other strategies are what were embraced to enhance the coming into being of film technology.
Conclusion
In summary, the mainstream cinema early conventions were obsolete and dull which was dictated by time. Due to them, the modernist avant-garde developed suspicions on the timeliness of it and its effectiveness as it conveyed the intended message. Cinemas being a room of luxury made it look clear that people wanted funnier actions than the boring outdated already shown stuff that was embraced by the olden day’s mainstream cinema. Different strategies were adopted as the filming is concerned to ensure that it was able to run the show a second time with much ease.
References
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