Dada, surrealism, and the cinematic effect / R. Bruce Elder

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Cover -- Contents -- Acknowledgements -- Introduction -- Notes -- 1 The Fate of Reason in Modernity -- The Modern Paradigm: Privileging Reason -- Geometry and Geometries -- Foundationalism Collapses -- Logic and Paradox -- Continuity and the Foundations of Physics -- Cantor and the Strangeness of Infinity -- Formalist Mathematics and the Limits of Reason -- Consequences of Reason's Retreat -- "Primitivism" as a Response to the Collapse of Reason -- Notes -- 2 Dadaism and the Disasters of War -- The Zürich Coterie and Their Antics -- The Dada Conspirators: Tristan Tzara -- The Dada Conspirators: Hugo Ball and Emmy Hennings -- The Dada Conspirators: Francis Picabia -- The Künstlerkneipe Cabaret Voltaire and the Galerie Dada -- DADA: War and Politics -- DADA against the Burgeoning of Nationalism: What DADA Might Have Prevented -- A Precursor of DADA: The Comic Grotesque -- The Diffusion of DADA -- The Conditions That Produced the State of Mind Known as DADA -- Elementalism's Menacing Lure -- DADA: Art and Anti-Art -- DADA and the Life-Principle -- Constructive DADA -- Hans Richter on the Six Forms of Use in Returning Art to Its Elementary Condition -- Dada Forms: Collage -- Further on Collage's New Notion of Form -- DADA and Language -- Parallels with the Russian Transrationalists and Andrei Bely -- Zaum and the Higher Consciousness of Trans-Sense -- Picabia, Man Ray, and the Dadaist Art of the Machine -- Duchamp and DADA's Art of the Machine -- Entr'acte: Commentary -- Man Ray's Dada Cinema -- Emak Bakia: Introduction -- Emak Bakia: Commentary -- DADA: In Conclusion -- Notes -- 3 Surrealism and the Cinema -- Beginnings -- Psychoanalysis and the Occult: The Intrusion of Alien Forms into Consciousness and the Poetics of the Surrealist Literary Image -- DADA and Surrealism -- Hippolyte Taine, Hasard Objectif, the Poetic Image, and the Cinema.

The Cinema, Photography, and "the Marvellous" -- Photography, the Surrealist Object, and the Unheimlich -- Ernst's Frottage as a Handmade Trace and Automatist Form -- Surrealism, Apollinaire, and Reconciliation -- Surrealism and the Hegelian Dialectic -- Surrealism and the Freudian Dialectic -- Dalí, the Double Image, and Paranoiac-Critical Methods -- Dalí against Idealism -- Dalí, Paranoia, and Lacan: A New Phase of Surrealism Begins -- Lacan's Theories and Surrealists' Conception of the Poetic Image -- Un chien andalou: Commentary -- An Anti-Art Film -- The Verbal Image -- Surrealism's Fissures and Luis Buñuel's Las Hurdes: Tierra sin pan -- Las Hurdes and the Documentary -- Dialectical Structure in Las Hurdes -- Las Hurdes and Bataille's Heterology -- Las Hurdes and the Sacred -- Las Hurdes as an Ethnographic Film -- The Hurdanos in History -- How Surrealism Has Been Passed Down into the Twenty-First Century: The Marvellous Correspondence between Max Ernst's Collage Novels and Lawrence Jordan's Films -- Collage as a Pneumatic Device: Through Ernst to Jordan -- The Surrealist Collage Novel: Une semaine de bonté-"Dimanche" (Calcination) -- The Surrealist Collage Novel: Une semaine de bonté-"Lundi" (Dissolution) -- The Surrealist Collage Novel: Une semaine de bonté-"Mardi" (Separation) -- The Surrealist Collage Novel: Une semaine de bonté-"Mercredi" (Conjunction) -- The Surrealist Collage Novel: Une semaine de bonté-"Jeudi" (Putrefaction/Fermentation) -- The Surrealist Collage Novel: Une semaine de bonté-"Vendredi" (Distillation) -- The Surrealist Collage Novel: Une semaine de bonté-"Samedi" (Coagulation) -- Lawrence Jordan: Surrealism and Alchemy -- Lawrence Jordan's Duo Concertantes: Commentary -- Part One: The Centennial Exposition -- Part Two: Patricia Gives Birth to a Dream by the Doorway -- Notes -- In Lieu of a Conclusion.

APPENDIX 1: How Reason Lost Its Purchase on Reality -- Notes -- APPENDIX 2 : Infinity Confounds Reason -- Notes -- APPENDIX 3 : An Account of Gödel's Proof for Poets, Painters, and Art Historians -- Notes -- APPENDIX 4: Emak Bakia: A Shot Analysis and Commentary -- Notes -- APPENDIX 5: Un chien andalou: A Shot Analysis and Commentary -- Notes -- APPENDIX 6: Land without Bread: A Shot Analysis and Commentary -- Notes -- APPENDIX 7: Analysis of Lawrence Jordan's Duo Concertantes -- Part One: The Centennial Exposition -- Part Two: Patricia Gives Birth to a Dream by the Doorway -- Duo Concertantes Musical Form: Tables -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- X -- Y -- Z.

This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema's lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film's provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life. This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media's materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author's previous, Harmony & Dissent, examines the DADA and Surrealist movements as responses to the advent of the cinema.