Cover

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pp. C-C

Title Page, Copyright

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pp. i-iv

Contents

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pp. v-viii

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Acknowledgements

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pp. ix-x

This book has been very long in the making, and the debts of gratitude I owe increased proportionately with the time that passed. Simply to list the names of those to whom I must express my thanks risks slighting their contributions, but to state what I owe them would make these acknowledgements unduly protracted. I have decided that better than either of those unpalatable options...

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Introduction

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pp. 1-20

This book is one in a series of volumes whose topic is the early intellectual reception of the cinema, especially its reception by those who were associated with advanced artistic practices. The series considers the manner in which art theorists, philosophers, cultural theorists, and, especially, artists of the first decades of the twentieth...

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1. The Fate of Reason in Modernity

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pp. 21-68

Vanguard art is not a single, homogeneous phenomenon—it is plural, differentiated, variegated. The variety of forms it has assumed, however, should not mislead us into overestimating the differences among the various practices commonly called modernism. There are, I believe, two main types of vanguard practices. One type...

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2. Dadaism and the Disasters of War

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pp. 69-258

It would be easy enough to frame a history of modern art along Hegelian lines, which represent art history as one of progress, with each advance marked by a decrease in illusion, the elimination from artistic form of features that were accidental to the medium, and an increased truth to the medium’s material. That history would depict modernism’s march ...

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3. Surrealism and the Cinema

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pp. 259-566

In the previous chapters, we explored developments in mathematics, science, and philosophy that suggested to people that, by applying its own methods to itself, reason had exposed its inadequacies as means for unveiling truths about reality. For centuries, the West had believed that nature’s secrets were yielding progressively to reason’s rigorous and painstaking...

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In Lieu of a Conclusion

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pp. 567-570

In Harmony and Dissent: Film and Avant-garde Art Movements in the Early Twentieth Century, a companion to this volume, I examined the intellectual reception of the cinema and the influence the cinema had on avant-garde art movements in the early twentieth century. There I made the claim that the common view concerning the early reception of the...

Appendix 1

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pp. 571-576

Appendix 2

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pp. 577-582

Appendix 3

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pp. 583-590

Appendix 4

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pp. 591-610

Appendix 5

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pp. 611-666

Appendix 6

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pp. 667-702

Appendix 7

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pp. 703-726

Index

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pp. 727-766