Transversalities Painting-Cinema: the concept of ‘the pictorial’ in the cinema of the first avant-gardes

The aim of this article is to verify the intense relationship that has been maintained between the cinematographic medium and the artistic Avant-gardes, especially with painting. In order to do so, we analyse how the latter –after its historical interest in representing the movement– looks at the cinema, being influenced by it, which we can demonstrate through the examples that will follow. But the most interesting thing is perhaps to show how, after the mentioned relation, a certain experimental cinema ends up welcoming the concept of “the pictorial” for its discursive purposes, as well as for its processes of realization. Experiences that, from the dialogues around the light that both media share, lead us to the debate on their locations relative to the time; as synchronous communication means or diachronic transmission means