Elder - Cubism and Futurism Spiritual Machines and the Cinematic Effect

CUBISM AND FUTURISM

Film and Media Studies Series

Film studies is the critical exploration of cinematic texts as art and entertainment, as well as the industries that produce them and the audiences that consume them. Film as a medium, though not far past its one hundredth birthday, has already been transformed by new media forms. Media studies is an interdisciplinary field that considers the nature and effects of mass media upon individuals and society and analyzes media content and representations. Despite changing modes of consumptionespecially the proliferation of mobile technologythe cinema has retained its significant hold on cultural popularity into the twenty-first century. It is this transformative moment that the series addresses.

Our series includes topics such as identity, gender, sexuality, class, race, visuality, space, music, new media and technology, aesthetics, genre, youth culture, popular culture, consumer culture, regional/national cinemas, film policy, film theory, and film history.

Series Editors: Dr. Philippa Gates, Dr. Russell Kilbourn, and Dr. Ute Lischke, Department of English and Film Studies, Wilfrid Laurier University

SPIRITUAL MACHINES AND THE CINEMATIC EFFECT

R. BRUCE ELDER

Wilfrid Laurier University Press acknowledges the support of the Canada Council for the Arts for our publishing program. We acknowledge the financial support of the Government of Canada through the Canada Book Fund for our publishing activities. This work was supported by the Research Support Fund.

Library and Archives Canada Cataloguing in Publication

Elder, Bruce (R. Bruce), author

Cubism and Futurism : spiritual machines and the cinematic effect / R. Bruce Elder.

(Film and media studies series)

Includes bibliographical references and index.

Issued in print and electronic formats.

ISBN 978-1-77112-245-0 (hardcover).ISBN 978-1-77112-272-6 (EPUB). ISBN 978-1-77112-271-9 (PDF)

1. Cubism. 2. Futurism (Art). 3. Motion picturesHistory. I. Title. II. Series: Film and media studies series

Cover image: La strada entra nella casa (The Street Enters the House, 1911), an oil painting in the Futurist style by Umberto Boccioni (18821916). The work is housed in the Sprengel Museum Hannover. The image is in the public domain. Cover design and interior design by Daiva Villa/Chris Rowat Design.

2018 Wilfrid Laurier University Press
Waterloo, Ontario, Canada
www.wlupress.wlu.ca

This book is printed on FSC certified paper and is certified Ecologo. It contains post-consumer fibre, is processed chlorine free, and is manufactured using biogas energy.

Printed in Canada

Every reasonable effort has been made to acquire permission for copyright material used in this text, and to acknowledge all such indebtedness accurately. Any errors and omissions called to the publishers attention will be corrected in future printings.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior written consent of the publisher or a licence from the Canadian Copyright Licensing Agency (Access Copyright). For an Access Copyright licence, visit http://www.accesscopyright.ca or call toll free to 1-800-893-5777.

In Memoriam
David Campbell Elder
19422017

Appendix: A Shot analysis of Ballet mcaniqueA Shot analysis of Ballet mcanique Online at https://www.wlupress.wlu.ca/Books/C/Cubism-and-Futurism

Bibliography Online at https://www.wlupress.wlu.ca/Books/C/Cubism-and-Futurism

The author thanks the following authors, their agencies, and their publishers for permission to quote from their work.

Bloomsbury Publishing Plc. for excerpts from Michel Henry, Barbarism, originally published in French as La Barbarie, trans. Scott Davidson. London: Continuum Publishing, 2012.

George Braziller Inc. (New York), www.georgebraziller.com, for excerpts from pages 53, 54, 59, 60, and 64 in Meyer Schapiros The Unity of Picassos Art. New York: George Braziller, 2000. Copyright Meyer Schapiro. All rights reserved.

Curtis Brown Ltd. for Manifesto of PREsentism by Raoul Haussmann, trans. Mary Ann Caws. Translation copyright 2000 by Mary Ann Caws. Translation reprinted by permission of Curtis Brown Ltd.

Max Kozloff for excerpts from Max Kozloff, Cubism/Futurism. New York: Charterhouse, 1973.

McGillQueens University Press for excerpts from Renato Barilli, The Birth and Evolution of the Contemporary Age, The Science of Culture and the Phenomenology of Styles, trans. Corrado Federici. Montreal: MQUP, 2012.

The MIT Press for excerpts from Judi Freeman, Bridging Purism and Surrealism: The Origins and Production of Fernand Lgers Ballet Mcanique, in Dada and Surrealist Film, ed. Rudolf E. Kuenzli. Cambridge, MA: The MIT Press, 1996.

The MIT Press Journals for excerpts from Robert Michael Brain, Genealogy of Zang Tumb Tumb: Experimental Phonetics, Vers Libre, and Modernist Sound Art, Grey Room 43 (Spring 2011): 88117.

New Directions Publishing Corp. for 59 lines from Zone by Guillaume Apollinaire, trans. Roger Shattuck, from Selected Writings, copyright 1971 by Roger Shattuck. Reprinted by permission of New Directions Publishing Corp.

PAJ Publications for excerpts from Michael Kirby and Victoria Nes Kirby, Futurist Performance. New York: PAJ Publications, 1986.

Penguin/Random House for excerpts from Raoul Hausmann, Light, Robert Delaunay and Sonia Delaunay, The New Art of Color, ed. Arthur A. Cohen, trans. David Shapiro and Arthur A. Cohen, 1978 Sonia Delaunay, Introduction and translation copyright 1978 by Arthur A. Cohen. Used by permission of Viking Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. All rights reserved.

Penguin/Random House for excerpts from Futurist Manifestos, ed. Umbro Apollonio, trans. R. Brain, F.W. Flint, J.C. Higgit, and C. Tisdall, translation copyright 1973 by Thames & Hudson Ltd. Original copyright 1970, by Verlag M. DuMont Schauberg and Gabriele Mazzotta editore, Milan. Used by permission of Viking Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. All rights reserved.

Thames & Hudson for excerpts from Umbro Apollonio, Futurist Manifestos. 1970 Verlag M. Dumont Schauberg, Cologne, and 1970 Gabriele Mazzotta editore, Milan. English translation 1973 by Thames & Hudson Ltd., London. Reproduced by kind permission of Thames and Hudson.

SODRAC for excerpts from Fernand Lger, The Functions of Painting, ed. Edward F. Fry, trans. Alexandra Anderson. New York: Viking Press, 1973. Estate of Fernand Lger / SODRAC (2017).

University of California Press for excerpts from We: Variant of a Manifesto. Dziga Vertov,