Međučin - Filmovi | Art-kino Croatia

Prvotno prikazan između dva čina nove opere Francisa Picabie, Relâche, Međučin je bio prvo zajedničko djelo pariškog dadaističkog kruga, labava saveza umjetnika posvećenih filozofiji satiričnih javnih događaja i estetskom eksperimentiranju. Redatelj René Clair htio je iskoristiti svoj rad kako bi pronašao „čisti film“, specifični umjetnički vokabular koji bi otkrio bit medija. Međučin je neka vrsta piknika dadaističke družine; Marcel Duchamp i Man Ray igraju šah, Erik Satie i Picabia pucaju iz topa, a cijela skupina jurca u ubrzanoj snimci pogrebne povorke. Clairova sintaksa besmislenih slika opire se analizi. Zašto bi netko napravio toliko preobrazbi u filmu – balerine u bradata muškarca, čovjeka bez nogu koji iznenada dobiva sposobnost kretanja? Dadaisti su vidjeli priliku napasti tradicionalne narativne istine u filmu – ismijati „lik“, „ambijent“ i „radnju“ kao buržujske konvencije, uništiti uzročnost uporabom prirodnog dinamizma filmskog medija kako bi oborili konvencionalne aristotelovske pojmove vremena i prostora. Čineći to, znali su da bi mogli dovesti u pitanje ideološke temelje starog doba, koji su toliko voljeli dobro izgrađenu priču. U načinu na koji društvo samo sebi pripovijeda priče možemo prepoznati njegova najdublja uvjerenja. Godine 1924. dadaisti su u filmu Međučin izašli na ulice i krovove kako bi se tim uvjerenjima nasmijali u lice. (Donald Faulkner, NYS Writers Institute)

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Originally shown between two acts of Relâche, a new opera by Francis Picabia, Entr'acte was the collaborative work of the Paris Dada circle, a loose confederation of artists dedicated to a philosophy of satirical public events and aesthetic experimentation. Director René Clair was determined to use the opportunity of this short film to find “pure cinema”, the specific artistic vocabulary which would reveal the essence of the medium. The film is a kind of Dada company picnic; Marcel Duchamp and Man Ray play chess, a cannon is fired by Erik Satie and Picabia, and the whole group race about in a fast-motion funeral procession. Clair’s syntax of nonsensical images defies analysis. What is one to make of the film’s many transformations, of a ballerina into a bearded man, of a legless man suddenly gaining mobility? The Dadaists saw an opportunity to assault traditional narrative verities in film, to ridicule “character”, “setting” and “plot” as bourgeois conventions, to slaughter causality by using the innate dynamism of the film medium to overturn conventional Aristotelian notions of time and space. In so doing, they knew they would question the ideological underpinnings of the old era which had held the well-made story so dear. It is in the way a society tells tales to itself that one can read its most deeply-held convictions, and in 1924, the Dadaists went out in the streets and onto the rooftops in Entr'acte to laugh in the face of those convictions. (Donald Faulkner, NYS Writers Institute)