DADA ET LE CINÉMA: HISTOIRE(S), (ANTI-)ESTHÉTIQUE, LANGAGE
DADA AND CINEMA: HISTORY(-IES), (ANTI-)AESTHETICS, LANGUAGE

Summary/Abstract: Dada and Cinema: History(-ies), (Anti-)Aesthetics, Language. This paper tries to propose a survey of the Dadaist cinema, from a historical and (anti-) aesthetical point of view, with an accent on great authors such as Man Ray, René Clair and Marcel Duchamp. Some major characteristics of Dadaist cinema are discussed here, such as the formal innovations, the tendency to abstraction (Hans Richter, Viking Eggeling), the special effects, as well as a main theme, which is the criticism of bourgeois society (in Entracte – Intermission by René Clair, 1924). An important focus is put on the question of language in Dadaism in general and in cinema in particular. The work of Marcel Duchamp, Anémic cinéma, is seen as a paradigmatic reflection on the condition of language and on its always changing significations.

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