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

在20世纪20年代，英国现代主义批评家开始将电影作为新媒体来对待，因此其美学和批评方法必须超越以前对文学和绘画的应用。在20世纪30年代以来成为电影研究主流的俄国形式主义电影批评家的存在下，这种提炼几乎被忽视了。针对这一趋势，我们旨在阐明批判运动的这一部分，并为今天的批判理论研究其活动。因此，我们澄清了在弗吉尼亚·伍尔夫、温德姆·刘易斯等人的批评话语中曾提到过本应被称为“时间情感”的东西。

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.