DADA, Surrealism, and the Cinematic Effect

Contents

v contents Acknowledgements / ix Introduction / 1 Notes / 19 1 The Fate of Reason in Modernity / 21 The Modern Paradigm: Privileging Reason / 23 Geometry and Geometries / 27 Foundationalism Collapses / 30 Logic and Paradox / 33 Continuity and the Foundations of Physics / 42 Cantor and the Strangeness of Infinity / 48 Formalist Mathematics and the Limits of Reason / 49 Consequences of Reason’s Retreat / 51 “Primitivism” as a Response to the Collapse of Reason / 52 Notes / 63 2 Dadaism and the Disasters of War / 69 The Zürich Coterie and Their Antics / 71 The Dada Conspirators: Tristan Tzara / 73 The Dada Conspirators: Hugo Ball and Emmy Hennings / 74 vi The Dada Conspirators: Francis Picabia / 75 The Künstlerkneipe Cabaret Voltaire and the Galerie Dada / 76 DADA: War and Politics / 83 DADA against the Burgeoning of Nationalism: What DADA Might Have Prevented / 86 A Precursor of DADA: The Comic Grotesque / 97 The Diffusion of DADA / 100 The Conditions That Produced the State of Mind Known as DADA / 103 Elementalism’s Menacing Lure / 105 DADA: Art and Anti-Art / 110 DADA and the Life-Principle / 114 Constructive DADA / 116 Hans Richter on the Six Forms of Use in Returning Art to Its Elementary Condition / 139 Dada Forms: Collage / 145 Further on Collage’s New Notion of Form / 149 DADA and Language / 157 Parallels with the Russian Transrationalists and Andrei Bely / 159 Zaum and the Higher Consciousness of Trans-Sense / 166 Picabia, Man Ray, and the Dadaist Art of the Machine / 174 Duchamp and DADA’s Art of the Machine / 177 Entr’acte: Commentary / 185 Man Ray’s Dada Cinema / 202 Emak Bakia: Introduction / 205 Emak Bakia: Commentary / 212 DADA: In Conclusion / 221 Notes / 225 3 Surrealism and the Cinema / 259 Beginnings / 262 Psychoanalysis and the Occult: The Intrusion of Alien Forms into Consciousness and the Poetics of the Surrealist Literary Image / 270 DADA and Surrealism / 288 Hippolyte Taine, Hasard Objectif, the Poetic Image, and the Cinema / 295 The Cinema, Photography, and “the Marvellous” / 312 Photography, the Surrealist Object, and the Unheimlich / 322 Ernst’s Frottage as a Handmade Trace and Automatist Form / 325 Contents vii Contents Surrealism, Apollinaire, and Reconciliation / 328 Surrealism and the Hegelian Dialectic / 332 Surrealism and the Freudian Dialectic / 340 Dalí, the Double Image, and Paranoiac-Critical Methods / 348 Dalí against Idealism / 356 Dalí, Paranoia, and Lacan: A New Phase of Surrealism Begins / 359 Lacan’s Theories and Surrealists’ Conception of the Poetic Image / 365 Un chien andalou: Commentary / 381 An Anti-Art Film / 384 The Verbal Image / 390 Surrealism’s Fissures and Luis Buñuel’s Las Hurdes: Tierra sin pan / 403 Las Hurdes and the Documentary / 405 Dialectical Structure in Las Hurdes / 408 Las Hurdes and Bataille’s Heterology / 413 Las Hurdes and the Sacred / 417 Las Hurdes as an Ethnographic Film / 424 The Hurdanos in History / 427 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 / 433 Collage as a Pneumatic Device: Through Ernst to Jordan / 439 The Surrealist Collage Novel: Une semaine de bonté—“Dimanche” (Calcination) / 467 The Surrealist Collage Novel: Une semaine de bonté—“Lundi” (Dissolution) / 473 The Surrealist Collage Novel: Une semaine de bonté—“Mardi” (Separation) / 476 The Surrealist Collage Novel: Une semaine de bonté—“Mercredi” (Conjunction) / 479 The Surrealist Collage Novel: Une semaine de bonté—“Jeudi” (Putrefaction/Fermentation) / 481 The Surrealist Collage Novel: Une semaine de bonté—“Vendredi” (Distillation) / 484 The Surrealist Collage Novel: Une semaine de bonté—“Samedi” (Coagulation) / 487 Lawrence Jordan: Surrealism and Alchemy / 488 Lawrence Jordan’s Duo Concertantes: Commentary / 494 Part One: The Centennial Exposition / 494 Part Two: Patricia Gives Birth to a Dream by the Doorway / 503 Notes / 506 viii Contents In Lieu of a Conclusion / 567 appendix 1: How Reason Lost Its Purchase on Reality / 571 Notes / 575 appendix 2: Infinity Confounds Reason / 577 Notes / 582 appendix 3: An Account of Gödel’s Proof for Poets, Painters, and Art Historians / 583 Notes / 590 appendix 4: Emak Bakia: A Shot Analysis and Commentary / 591 Notes / 609 appendix 5: Un chien andalou: A Shot Analysis and Commentary / 611 Notes / 664 appendix 6: Land without Bread: A Shot Analysis and Commentary / 667 Notes / 702 appendix 7: Analysis of Lawrence Jordan’s Duo Concertantes / 703 Part One: The Centennial Exposition / 703 Part Two: Patricia Gives Birth to a Dream by the Doorway / 716 Duo Concertantes Musical Form: Tables / 722 Duo Concertantes Part 1: The Centennial...