designer / autor / producent:
- Acid-designs |
- Acidpaper |
- Aneta Erlerová |
- Anke Feuchtenberger |
- Baobab |
- Bongout |
- David B. |
- Directions |
- Eutha |
- Femke Hiemstra |
- Frederik Peeters |
- Giger |
- GLSH |
- Grossesouris |
- HC2 |
- Hura |
- Jiří Zimčík |
- Lewis Trondheim |
- Marhlad |
- Mateo |
- Max Andersson |
- Meander |
- Micha Hirt |
- Mot |
- Načeva |
- Newafresh |
- Nice Belly |
- Nicolas de Crécy |
- No Style Fuckers |
- Nora Krug |
- Olivier Schrauwen |
- Olyfka |
- PC filtry |
- Petr Nikl |
- RAZK |
- Re:Voir |
- Rollo |
- Stripburger |
- Tarakan |
- Thomas Ott |
- Tommi Musturi |
- Ulf K. |
- Ulli Lust |
- United Kingdog |
- Urban Legend |
- Vendula Chalánková |
- Živel |
inter:zone
kubelíkova 45, 130 00 - praha 3
otevírací doba:
po - pá 13h - 19h
open: mon - fri 1pm - 7pm
info k osobnímu odběru zde »
info@inter-zone.cz
eshop@inter-zone.cz
icq: 218282039
tel.: +420 737 858 018 (obchod)
tel.: +420 608 248 380
IČ: 71318453
Nákupní košík: 0ks v celkové ceně 0,- Kč
objednávka
Audio-Video
DVD Dada Cinema [Re:Voir]
690,– Kč
dostupnost: na dotaz
Obsah DVD:
- Rythme - Rythme 21, de Hans Richter - 1921, 35mm, n/b, muet, 2'10
- La symphonie diagonale, de Viking Eggeling - 1921, 35mm, n/b, muet, 7'
- Le retour à la raison, de Man Ray - 1923, 35mm, n/b, muet, 2'
- Entr'acte, de René Clair - 1924, 35mm, n/b, sonore, 20'
- Le ballet mécanique, de Fernand Léger et Dudley Murphy - 1924, 35mm, n/b, sonore, 14'
- Filmstudie, de Hans Richter - 1926, 35mm, n/b, sonore, 3'30
- Emak Bakia, de Man Ray - 1926, 35mm, n/b, muet, 17'
- Vormittagsspuk (fantômes avant déjeuner), de Hans Richter - 1927, 35mm, n/b, sonore, 6'
In a late text, written in 1961, Hans Richter sketched a portrait of Dadaist cinema (1) in which he included three of his own films: Rythmus 21 (1921), Filmstudie (1926) & Vormittagspuk (Ghosts before breakfast, 1927) as well as Viktor Eggeling's Symphonie diagonale (1921), Man Ray's Retour a la raison (1924) & Emak Bakia (1926), Rene Clair & Francis Picabia's Entr'Acte (1924) & Fernand Leger & Dudley Andrew's Ballet Mechanique (1924) but, curiously, not Marcel Duchamp's Anemic Cinema. What was it that provoked Richter to unite these films (almost all completed after the disbanding of the Surrealist movement in 1922; all from different countries - Switzerland, France, Germany; all formally & stylistically different) under the Dadaist flag? What links the graphic essays of Eggeling & Richter to the photographic experiments of Man Ray, or Clair & Picabia's anarchic & iconographic provocations to the rhythmic poetry of Leger & Dudley Andrews? Given the absence of a unifying Dada stategy & the rejection of any possible general principle - theoretical or otherwise (2) - there is nonetheless a thread that runs through Dada: the deconstruction of the subject or, more precisely (to use an expression coined by Richter in his 1961 text), the Hunting of the Subject; subject being understood as the logical subject of the action taking place, as well as the subject of the narrative (intrigue).
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Další zboží v sekci:
- CD Super Star Parade
- CD The Sick Rose
- CD-R Interzone
- DVD Dada Cinema
- DVD Documentaires-Patrick Bokanowski
- DVD Early Works-Hans Richter
- DVD Experimental Films-Maya Deren
- DVD H.R. Giger Revealed
- DVD H.R. Giger Revealed [extended version]
- DVD Les Religions Sauvages
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