비극장 상영의 페다고지: 20세기 초반 유럽 아방가르드 필름 클럽과 독일 영화개혁운동

초록

Early 20th-century Europe, avant-garde, scientific, and educational films were exhibited in diverse spaces outside of commercial theaters. Previous studies have typically separated them based on the dichotomy of art versus education. However, the case of the Dutch scientific filmmaker Jan Cornelius Mol, whose works garnered acclaim in both educational lectures and avant-garde film clubs, challenges this binary. This study reinterprets non-theatrical exhibition through the lens of visual education, arguing that avant-garde and educational cinema shared a common institutional basis rather than standing in opposition. French avant-garde film clubs and the German cinema reform movement both featured scientific and nature films as core programming, treating pure movement and rhythm as cinema’s essence. In their exhibition practices, film clubs sparked critical thinking by juxtaposing heterogeneous genres, while Häfker’s model screenings synthesized film, music, and narration into a Gesamtkunstwerk. These practices gained institutional form through the 1927 European Conference on Educational Film and the 1929 International Congress of Independent Cinema, which established early models for film studies and film festivals. Non-theatrical exhibition thus constituted a visual education system that integrated art and pedagogy, laying the historical groundwork for today’s film cultural institutions.

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