María Soliña Barreiro González

María Soliña Barreiro González

  • Pompeu Fabra University
  • Journalism and audiovisual comunication
Participant in 2008

Phd Projects


The modern time experience through historic avant-garde cinema (1919-1933)

My PhD project aims to analyse the time experience through the modern conception of time in the historic avant-garde films produced during the Interwar period. I have chosen the concept of time, because it is one of the main factors of social perception and it changed the most with the arrival of modernity. The object of my study is the historic avant-garde cinema because it was consumed as a cultural object which reflected the modern society, it was dedicated to think about modern perceptive changes and it allows us to study the modern time experience of the author and its aesthetical expression, and also the public experience mediated by cinema. Radical changes in the conception of time and space characterized modernity. The new means of transport and the new media, and also the spread of consumption of cultural objects, provoked radical changes in the perception of reality. A number of theorists from different fields (among others philosophers, economists, sociologists) analysed those changes, and all of them had points in common in their analysis: the new fragmentary experiences, the new way of perceiving the environment, the new relations between time and space and the importance of the cultural objects in the process of the perceptive change. Avant-garde cinema, characterized by its expression of experience and its visual theory through the image, gives us a double-use of ‘knowledge theory’, with the objective of studying the role of these mediated consumption objects in the creation of mass consciousness: on the one hand, the influence of consumption products and their temporary marks into the art creation; on the other hand, the influence of cultural products into public consciousness. For this study, I have chosen texts of those philosophers who had analysed modernity and its new temporary regime (e.g. Benjamin, Kracauer, Simmel) and, through these authors, I establish a group of time markers that help us to understand the new modern time experience in historical avant-garde films. Furthermore, the work of modern philosophers contributes to elaborate the framework and the study’s methodology.

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