This article has a first objective, to group the avant-garde film in three big variables aesthetic, as abstraction, "Film-poem as abstraction", "Film poetry as analytical model" and "Film as dialectic poetry", related to critical theories and writings of the filmmakers themselves. This paper on the one hand analyzes the poetics of Abel Gance, Germaine Dulac, Marcel L'Herbier, Jean Epstein, Louis Delluc, Marcel Duchamp, Walter Ruttmann, Man Ray and Dziga Vertov. A second objective would be the review of the notion of avant-garde cinema is reviewed by the contributions of the film theory developed by Jean Mitry, Bill Nichols, Malcolm Turvey, Vicente Sanchez-Biosca and Carlos Tejeda among others. These authors allow us to approach methodologically the diferente dimensions that characterize Film-poem As abstraction, analytical model and dialectical poetry. These aesthetic and philosophical ideals are linked to the experiences of the plastic arts and contemporary art. In the same way, this article exposes the poetic conception of the vanguard movement interrelating film works of the experimental art from models of representation.
