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A Companion to Dada and Surrealism (Blackwell Companions to

This glorious review of recent examine on Dada and Surrealism blends professional synthesis of the most recent scholarship with thoroughly new study, supplying old insurance in addition to in-depth dialogue of thematic components starting from criminal activity to gender.

• This e-book presents a superb evaluation of latest learn on Dada and Surrealism from a few of the most interesting proven and up-and-coming students within the field
• deals historic insurance in addition to in–depth dialogue of thematic components starting from illegal activity to gender
• one of many first stories to supply worldwide insurance of the 2 pursuits, additionally it is a piece facing the serious and cultural aftermath of Dada and Surrealism within the later 20th century
• Dada and Surrealism are arguably the preferred components of contemporary paintings, either within the educational and public spheres

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Additional info for A Companion to Dada and Surrealism (Blackwell Companions to Art History, Volume 10)

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16 Nevertheless, the “machine” is not valued for what it is, but for what it can do and for what it makes the spectator do. ”17 The printing press is a technology, too, but while it has “in time rendered men’s faces illegible,”18 cinema rehabilitates our visual abilities and restores our familiarity with the language of the body. ”19 The emphasis is placed on the way in which the device mobilizes our senses and places us in relation with reality—on the type of experience that it engenders. This experience owes much to the “machine,” but not everything.

First of all, a medium is not only a support or a device. A medium is also a cultural form: It is defined most of all by the way in which it puts us in relation with the world and with others, and therefore by the type of experience that it activates. 10 From its very beginnings, cinema has been based on the fact that it offers us moving images through which we may reconfigure both the reality around us and our own position within it. Cinema has always been a way of seeing and a way of living—a form of sensibility and a form of understanding, as a brief overview of the film theories of the early decades of the twentieth century will clearly demonstrate.

Alfredo battles to put out the fire but is overcome by the flames and drops to the ground. Totò returns to the projection booth and drags the projectionist down the stairs all the way to the piazza, where, in the meantime, the crowd has dispersed. The fire continues to burn unabated, with no one able to put it out. The movie theater is destroyed, and when it is rebuilt, a few years later, it will not be the same. Alfredo, whose face was struck by the flames, loses his sight. Many readers will have recognized this scene—one of the most famous sequences in Cinema Paradiso (Giuseppe Tornatore, Italy, 1988).

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