The Relationship of Modern Art and Cinema: A Creative Fusion

Modern art and cinema are two dynamic streams of creativity, both riddled with cultural, social, and artistic movements of their own eras. Though, seemingly at the surface, having little in common, the relationship between these two is very deeply intermingled and constantly influences each other so that one improves upon the other. Thus, understanding this connection shows us how to appreciate both fields more deeply and see how they form up our views of the world.

Visual Language and Aesthetic Innovation
Modern art, by its very nature, is about transgression and experimentation of form. From Pablo Picasso to Wassily Kandinsky and Jackson Pollock, artists have changed the vocabulary of the visual arts by leaving behind the representation of reality in the most realistic ways towards an abstraction, cubism, or expressionism type of language. Similarly, early filmmakers like Sergei Eisenstein, Georges Méliès, or Fritz Lang experimented with visual techniques like montage or set design and often drew from avant-garde art movements in order to give birth to new cinematic experiences.

For instance, the irrational and dream-like characteristics of Dada and Surrealist art movements influenced early cinema significantly. It was from such collaborations that the surrealist film, Un Chien Andalou (1929), was born out of partnerships between Luis Buñuel and Salvador Dalí, defying the conventions of the normal nature of narrative structure and logic at the time. So, the warped reality of modern art found an expression in cinema where producers pushed the boundaries of time, space, and emotion just like the artists before them.

Modern Art's Effect on Film Techniques
Film is a medium in which visual perceptions go hand in hand with movement, and thus, this medium is powerful in creating far more vibrant senses that are far beyond the other forms of art. Take color in film, for instance-it takes a lot from the abstract painter techniques. This principle of color theory is properly and aptly expressed in the films by modern artists, such as the colors used in The Grand Budapest Hotel or Amélie.

Moreover, minimalist designs and geometric shapes so prevalent in modern art typically find their way into cinematography and even film sets. In other words, filmmakers such as Stanley Kubrick so carefully planned frames as pieces of art, which cuts directly from modernist architecture and movements. For example, in the 2001: A Space Odyssey (1968), the set and cinematography are precisely the minimalist and futuristic style of early 20th-century style.

Abstract Storytelling and Experimental Films
The subjective nature of modern art can be applied to abstract storytelling in film, due to the fact that many modern films do not have a linear, straightforward narrative, so fragmented, broken stories can only be interpreted on a personal, individual basis. For example, Mulholland Drive by David Lynch and Eraserhead by David Lynch; both use surrealist, abstract imagery to provoke emotional and psychological responses, just like abstract modern art.

Conclusion
Modern art and film share many things in common. The same respect towards vision, creativity, and an understanding to break norms, they find themselves within a floating train-wreath of mutual influence as both arts grow into being. This reminds one that the boundaries of art are not always sharp and clear cut and that modern art and film will inspire and nurture for many more years to come.