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DADA, Surrealism, and the Cinematic Effect
R. Bruce Elder
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Description for DADA, Surrealism, and the Cinematic Effect
Paperback. Num Pages: 776 pages. BIC Classification: 1D; AC; APFA. Category: (G) General (US: Trade). Dimension: 153 x 241 x 39. Weight in Grams: 1016.
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.
Product Details
Publisher
Wilfrid Laurier University Press
Format
Paperback
Publication date
2015
Condition
New
Weight
1016g
Number of Pages
776
Place of Publication
Waterloo, Ontario, Canada
ISBN
9781771121996
SKU
V9781771121996
Shipping Time
Usually ships in 7 to 11 working days
Ref
99-1
About R. Bruce Elder
R. Bruce Elder is an award-winning filmmaker and teaches media at Ryerson University. His book Harmony & Dissent (WLU Press, 2008) received the prestigious Robert Motherwell Book Prize and was named a Choice Outstanding Academic Book. Rudolf Kuenzli described DADA, Surrealism, and the Cinematic Effect (WLU Press, 2013) as athat rare book that casts the early twentieth-century avant-garde in a very new light.a
Reviews for DADA, Surrealism, and the Cinematic Effect
``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 ``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 Anemic cinema, Man Ray's Retour A la raison and Emak Bakia, and Bunuel'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
R.P. Kinsman
Choice, January 2014, 201401 ``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 Anemic cinema, Man Ray's Retour A la raison and Emak Bakia, and Bunuel'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