Posted: September 28th, 2022

Is the film Dadist, Surrealist, Expressionist,

Historical past homework Help

Choose one modernist film from the checklist beneath arguing the way it enacts and engages with the ideas of modernism.

Is the film Dadist, Surrealist, Expressionist, or Constructivist, and why?

What are the particular traits of that exact modernist style? What are the results of the modernist strategies utilized in the film?

How does the film break with Realist practices (outline them) and what are the conceptual or aesthetic penalties of that break?
What are the distinguishing traits of that exact kind of modernist writing? In what methods does the film’s use of modernist strategies have an effect on the viewing expertise?

In what methods does it deviate from realist strategies (and the way would you describe these deviations), and what are the conceptual or aesthetic repercussions of that deviance?
Please discuss with particular scenes and shot sequences from the film to Help your reply. Draw upon the readings and the lectures to Help your argument.

Movies (select one): Man Ray, Return to Cause (1923); Marcel Duchamp, Anémic Cinéma (1926); Luis Buñuel and Salvador Dalí, Un Chien Andalou (1929); Robert Weine, The Cupboard of Dr. Caligari (1920). Sergei Eisenstein, Battleship Potemkin (1925)

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