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Dadaist films


  • Films produced in the 1920s that juxtapose seemingly nonsensical, incoherent, or unrelated images and vignettes, giving the appearance of spontaneous thought.

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    • Dadaist films
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    • Dada films
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  • Sources

    • found: Work cat.: Anthology of surreal cinema. Volume one [VR], c2005(includes: Entr'acte (1924); Ballet mécanique (1924))
    • found: Avant-garde [VR] : experimental cinema of the 1920s and '30s, 2005(includes: Le retour à la raison (1923); Emak-Bakia (1926); Rhythmus 21 (1921); Ballet mécanique (1924))
    • found: Lopez, D. Films by genre, c1993(Dada, Dadaism see Surrealist Film; listed as subcategory under Surrealist Film (Surrealism): Dada (Dadaism): artistic and literary movement that rejected form and traditional art; believed in "accidental" creation, automatic writing and drawing and the use of ready-mades for exhibition as works of art; it produced few filmic manifestations, the movement being superseded by the more vigorous and optimistic surrealist venture. Examples: Le retour à la raison (1923, Man Ray); Entr'acte (1924, René Clair; Emak Bakia (1926, Man Ray))
    • found: Beaver, F.E. Dictionary of film terms, c2006(Dada: A literary/art movement founded in 1916 in Zurich; to negate the traditional relationship between calculation and creativity in the arts by approaching expression in a more playful, aleatory manner; was a stepping-stone to surrealism, which developed in the 1920s; Man Ray, working in France in the 1920s, is frequently referred to as a "Dadaist filmmaker." Ray used collage techniques in his films, spreading materials on the emulsion and then processing the film for whatever results occurred (Le retour à la raison, 1923; Emak Bakia, 1927). The early free-flowing, rhythmic films of René Clair were also inspired by the playful interests of the Dada movement)
    • found: Taves, B. The moving image genre-form guide, 1998(Dada: Work following the Dada art movement aesthetic of juxtaposing seemingly nonsensical or unrelated images and vignettes, giving the appearance of spontaneous thought without necessarily having a deep "meaning." Such work often uses trick photography. Example: Entr'acte)
    • found: Dada and surrealist film, 1996, via Google books, viewed Aug. 10, 2011:p. 10 ("The difference between Dada and Surrealist films ... lies in their different strategies of defamiliarizing social reality. Surrealist filmmakers largely rely on conventional cinematography (narratives, optical realism, characters) as a means to draw the viewer into the reality produced by the film. The incoherent, non-narrative, illogical nature of Dada films, which constantly defamiliarize the familiar world through cinematic manipulations, never let the viewer enter the world of the film.")
    • found: Turvey, M. Dada between Heaven and Hell : abstraction and universal language in the rhythm films of Hans Richter, in October, summer 2003, via WWW, viewed Aug. 10, 2011:pp. 13-14 ("... examining why Hans Richter believed the films he made in the early 1920s, Rhythm 21 (1921), Rhythm 23 (1923), and Rhythm 25 (1924), to be Dadaist. The status of these films as Dadaist has always been somewhat uncertain, because they are very different from the canonical Dadaist film, René Clair and Picabia's Entr'acte (1923). Entr'acte is considered by most commentators to be the quintessential Dadaist film due to its parodic subversion of narrative structure, its mocking of high art forms such as ballet and other "bourgeois" phenomena (funerals), and its mimicking of irrational mental processes. Certainly, it is the film most often privileged in commentaries on Dadaist film.")
    • found: Wikipedia, Aug. 10, 2011:Ballet Mécanique (Ballet Mécanique (1924) was a project by the American composer George Antheil and the filmmaker/artists Fernand Léger and Dudley Murphy; Ballet Mécanique was originally written to accompany a Dadaist film of the same name, directed by Dudley Murphy and Fernand Léger, with cinematography by Man Ray)
    • found: Dada and dadaism website, Aug. 10, 2011:sound, music & movies (René Clair and Francis Picabia: Entr'acte (1924); Man Ray: L'Étoile de Mer (1928), Retour à la Raison (1923); Emak Bakia (1926))
    • found: Museum of Modern Art website, Aug. 10, 2011(Film Exhibitions: Dada on Film, June 24-September 4, 2006. "Dada was a provocative and irreverent art movement, founded in Switzerland in the early twentieth century, in which a seemingly chaotic, spontaneous, and pessimistic aesthetic influenced painting, sculpture, theater, literature, and film. The movement's name is a willfully nonsensical word, intended to punctuate the meaninglessness artists saw in their contemporaneous worldview. Dada filmmakers such as Hans Richter, Man Ray, and Viking Eggeling were challenged by the developing technology of filmmaking in the 1920s. This confluence of technology and aesthetic experimentation suited the Dadaists' passion for the machine-made object. The visual disruption created by the Dada filmmakers in the 1920s provided a legacy of aesthetic language for the cinematic experiments of future generations of avant-garde artists. The landmark films in this program--all produced between 1921 and 1928--are also on view within the context of other works in other mediums by the same artists in the Dada exhibition on the sixth floor of the Museum. All films are drawn from MoMA's collection and are silent.")
    • notfound: Yee, M.M. Moving image materials, 1988
  • General Notes

    • Films produced in the 1920s that juxtapose seemingly nonsensical, incoherent, or unrelated images and vignettes, giving the appearance of spontaneous thought.
  • Change Notes

    • 2011-10-19: new
    • 2015-12-08: revised
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