Reconsidering the Aesthetics of English Modernism: the direction of film art in the early 20th century

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Through the 1920s, British modernist critics began to deal in films as new media, and thus its aesthetics and critical methods had to be refined beyond their previous application to literature and painting. This refinement has been almost ignored under the presence of Russian formalistic film critics which has become the mainstream in successive film studies since the 1930s. Against this trend, we aim to shed light on this part of the critical movement and examine its activities for critical theory today. As a result, we clarified that there had been the references to what should have been called "temporal sentiment" in critical discourses of Virginia Woolf, Wyndham Lewis and so forth.