{"product_id":"dada-surrealism-and-the-cinematic-effect-9781771121996","title":"Dada, Surrealism, and the Cinematic Effect","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e 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. \u003c\/p\u003e \u003cp\u003e 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, \u003ci\u003eHarmony \u0026amp; Dissent\u003c\/i\u003e, examines the Dada and Surrealist movements as responses to the advent of the cinema. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e``Rigorously researched, the book rarely leans on established studes of DADA\/surrealism, but it combines study of films of these movements with the movement's noncinematic work. Its length notwithstanding, this is a readable, informative book. Summing Up: Recommended.'' -- R.P. Kinsman -- Choice, January 2014, 201401\u003cbr\u003e``DADA, Surrealism, and the Cinematic Effect, Bruce Elder's superb companion volume to his earlier Harmony and Dissent, convincingly demonstrates that for the early twentieth-century avant-garde movements, cinema was the model, the preeminent form that prompted a recasting of the other arts. This wide-ranging study shows that Dada artists created cinematic collages and transformative machines, whereas Surrealists developed the film script as a new literary genre. His brilliant analyses of Duchamp's Anémic cinema, Man Ray's Retour À la raison and Emak Bakia, and Buñuel's Un chien andalou and Las Hurdes are only surpassed by his intricate explication of Ernst's cinematic collage novels, which he relates as models for Lawrence Jordan's surrealist films. This is that rare book that casts the early twentieth-century avant-garde in a very new light.'' -- Rudolf Kuenzli, director, International Dada Archive, University of Iowa -- 201211\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003ci\u003eDADA, Surrealism, and the Cinematic Effect\u003c\/i\u003e by R. Bruce Elder\u003c\/li\u003e\n\u003cli\u003ePreface \u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e1 The Fate of Reason in Modernity\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eThe Modern Paradigm: Privileging Reason\u003c\/li\u003e\n\u003cli\u003eGeometry and Geometries\u003c\/li\u003e\n\u003cli\u003eFoundationalism Collapses\u003c\/li\u003e\n\u003cli\u003eLogic and Paradox\u003c\/li\u003e\n\u003cli\u003eContinuity and the Foundations of Physics\u003c\/li\u003e\n\u003cli\u003eCantor and the Strangeness of Infinity\u003c\/li\u003e\n\u003cli\u003eFormalist Mathematics and the Limits of Reason\u003c\/li\u003e\n\u003cli\u003eConsequences of Reason's Retreat\u003c\/li\u003e\n\u003cli\u003e\"\"Primitivism\"\" as a Response to the Collapse of Reason\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e2 Dadism and the Disasters of War\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eThe Zürich Coterie and Their Antics\u003c\/li\u003e\n\u003cli\u003eThe Dada Conspirators: Tristan Tzara\u003c\/li\u003e\n\u003cli\u003eThe Dada Conspirators: Hugo Ball and Emmy Hennings\u003c\/li\u003e\n\u003cli\u003eThe Dada Conspirators: Francis Picabia\u003c\/li\u003e\n\u003cli\u003eThe Künstlerkneipe Cabaret Voltaire and the Galerie Dada\u003c\/li\u003e\n\u003cli\u003eDADA: War and Politics\u003c\/li\u003e\n\u003cli\u003eDADA against Burgeoning of Nationalism: What DADA Might Have Prevented\u003c\/li\u003e\n\u003cli\u003eA Precursor of DADA: The Comic Grotesque\u003c\/li\u003e\n\u003cli\u003eThe Diffusion of DADA\u003c\/li\u003e\n\u003cli\u003eThe Conditions That Produced the State of Mind Known as DADA\u003c\/li\u003e\n\u003cli\u003eElementalism's Menacing Lure\u003c\/li\u003e\n\u003cli\u003eDADA: Art and Anti-Art\u003c\/li\u003e\n\u003cli\u003eDADA and the Life Principle\u003c\/li\u003e\n\u003cli\u003eConstructive DADA\u003c\/li\u003e\n\u003cli\u003eHans Richter on the Six Forms of Use in Returning Art to Its Elementary Condition\u003c\/li\u003e\n\u003cli\u003eDada Forms: Collage\u003c\/li\u003e\n\u003cli\u003eFurther on Collage's New Notion of Form\u003c\/li\u003e\n\u003cli\u003eDADA and Language\u003c\/li\u003e\n\u003cli\u003eParallels with the Russian Trans-Rationalists and Andrei Bely \u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eZaum\u003c\/i\u003e and the Higher Consciousness of Trans-Sense\u003c\/li\u003e\n\u003cli\u003ePicabia, Man Ray and the Dadaist Art of the Machine\u003c\/li\u003e\n\u003cli\u003eDuchamp and DADA's Art of the Machine\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eEntr'acte\u003c\/i\u003e (1924): Commentary\u003c\/li\u003e\n\u003cli\u003eMan Ray's DADA Cinema\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eEmak Bakia\u003c\/i\u003e: Introduction\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eEmak Bakia\u003c\/i\u003e: Commentary\u003c\/li\u003e\n\u003cli\u003eDADA: In conclusion\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003e3 Surrealism and the Cinema\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003eBeginnings\u003c\/li\u003e\n\u003cli\u003ePsychoanalysis and the Occult: The Intrusion of Alien Forms into Consciousness and the Poetics of the Surrealist Literary Image\u003c\/li\u003e\n\u003cli\u003eDADA and Surrealism\u003c\/li\u003e\n\u003cli\u003eHippolyte Taine, \u003ci\u003eHasard Objectif\u003c\/i\u003e, the Poetic Image and the Cinema\u003c\/li\u003e\n\u003cli\u003eThe Cinema, Photography and \"\"the Marvellous\"\"\u003c\/li\u003e\n\u003cli\u003ePhotography, the Surrealist Object, and the \u003ci\u003eUnheimlich\u003c\/i\u003e \u003c\/li\u003e\n\u003cli\u003eErnst's \u003ci\u003eFrottage\u003c\/i\u003e as a Handmade Trace and Automatist Form\u003c\/li\u003e\n\u003cli\u003eSurrealism, Apollinaire, and Reconciliatio\u003c\/li\u003e\n\u003cli\u003eSurrealism and the Hegelian Dialectic\u003c\/li\u003e\n\u003cli\u003eSurrealism and the Freudian Dialectic\u003c\/li\u003e\n\u003cli\u003eDalí, the Double Image, and Paranoiac-Critical Methods\u003c\/li\u003e\n\u003cli\u003eDalí Against Idealism\u003c\/li\u003e\n\u003cli\u003eDalí, Paranoia and Lacan: A New Phase of Surrealism Begins\u003c\/li\u003e\n\u003cli\u003eLacan's Theories and Surrealists' Conception of the Poetic Image\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eUn chien andalou\u003c\/i\u003e: Commentary\u003c\/li\u003e\n\u003cli\u003eAn Anti-art Film\u003c\/li\u003e\n\u003cli\u003eThe Verbal Image\u003c\/li\u003e\n\u003cli\u003eSurrealism's Fissures and Luis Buñuel's \u003ci\u003eLas Hurdes: Tierra sin pan\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eLas Hurdes\u003c\/i\u003e and the Documentary\u003c\/li\u003e\n\u003cli\u003eDialectical Structure in \u003ci\u003eLas Hurdes\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eLas Hurdes\u003c\/i\u003e and Bataille's Heterology\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eLas Hurdes\u003c\/i\u003e and the Sacred\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eLas Hurdes\u003c\/i\u003e as an Ethnographic Film\u003c\/li\u003e\n\u003cli\u003eThe Hurdanos in History\u003c\/li\u003e\n\u003cli\u003eHow Surrealism Has Been Passed Down into the Twenty-First Century: The Marvellous Correspondence between Max Ernst's Collage Novels and Lawrence Jordan's Films\u003c\/li\u003e\n\u003cli\u003eCollage as a Pneumatic Device: Through Ernst to Jordan\u003c\/li\u003e\n\u003cli\u003eThe Surrealist Collage Novel: \u003ci\u003eUne semaine de bonté\u003c\/i\u003e—\"\"Dimanche\"\" (Calcination)\u003c\/li\u003e\n\u003cli\u003eThe Surrealist Collage Novel: \u003ci\u003eUne semaine de bonté\u003c\/i\u003e—\"\"Lundi\"\" (Dissolution)\u003c\/li\u003e\n\u003cli\u003eThe Surrealist Collage Novel: \u003ci\u003eUne semaine de bonté\u003c\/i\u003e—\"\"Mardi\"\" (Separation)\u003c\/li\u003e\n\u003cli\u003eThe Surrealist Collage Novel: \u003ci\u003eUne semaine de bonté\u003c\/i\u003e—\"\"Mercredi\"\" (Conjunction)\u003c\/li\u003e\n\u003cli\u003eThe Surrealist Collage Novel: \u003ci\u003eUne semaine de bonté\u003c\/i\u003e—\"\"Jeudi\"\" (Putrefaction\/Fermentation)\u003c\/li\u003e\n\u003cli\u003eThe Surrealist Collage Novel: \u003ci\u003eUne semaine de bonté\u003c\/i\u003e—\"\"Vendredi\"\" (Distillation)\u003c\/li\u003e\n\u003cli\u003eThe Surrealist Collage Novel: \u003ci\u003eUne semaine de bonté\u003c\/i\u003e—\"\"Samedi\"\" (Coagulation)\u003c\/li\u003e\n\u003cli\u003eThe Surrealist Collage Novel: \u003ci\u003eUne semaine de bonté\u003c\/i\u003e—\"\"Samedi\"\" (Coagulation)\u003c\/li\u003e\n\u003cli\u003eLawrence Jordan between Surrealism and Alchemy\u003c\/li\u003e\n\u003cli\u003eLawrence Jordan's \u003ci\u003eDuo Concertantes\u003c\/i\u003e: Commentary\u003c\/li\u003e\n\u003cli\u003ePart One: The Centennial Exposition\u003c\/li\u003e\n\u003cli\u003ePart Two: Patricia Gives Birth to a Dream by the Doorway\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003e\u003cb\u003eIn Lieu of a Conclusion\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e Appendix 1: How Reason Lost its Purchase on Reality\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003e Appendix 2: Infinity Confounds Reason\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003e Appendix 3: An Account of Gödel's Proof for Poets, Painters and Art Historians\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003e Appendix 4: \u003ci\u003eEmak Bakia\u003c\/i\u003e: A Shot Analysis and Commentary\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003e Appendix 5: \u003ci\u003eUn chien andalou\u003c\/i\u003e: A Shot Analysis and Commentary\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003e Appendix 6: \u003ci\u003eLand without Bread\u003c\/i\u003e: An Shot Analysis and Commentary\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003e Appendix 7: Analysis of Larry Jordan's \u003ci\u003eDuo Concertantes\u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli\u003e Part One: The Centennial Exposition\u003c\/li\u003e\n\u003cli\u003e Part Two: Patricia Gives Birth to a Dream by the Doorway\u003c\/li\u003e\n\u003cli\u003e \u003ci\u003eDuo Concertantes\u003c\/i\u003e Musical Form: Tables\u003c\/li\u003e\n\u003cli\u003e \u003ci\u003eDuo Concertantes\u003c\/i\u003e Part 1: The Centennial Exposition\u003c\/li\u003e\n\u003cli\u003e Duo Concertantes Part 2: Patricia Gives Birth to a Dream by the Doorway\u003c\/li\u003e\n\u003cli\u003eIndex \u003c\/li\u003e\n\u003cli\u003e\u003cul\u003e\u003c\/ul\u003e\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Wilfrid Laurier University Press","offers":[{"title":"Default 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