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date: 08 July 2020

Abstract and Keywords

This chapter explores the 1924 film Entr’acte, by Francis Picabia and René Clair, as an interdisciplinary project that combines ideas of cinematography, music, and choreography. The film constitutes a significant project of the avant-garde of 1920s Paris, driven by a strong conceptual framework and influenced by early twentieth-century discourses which underpinned cultural, social, and economic developments. Dada in particular was part of this tight net of affiliations and differences. Entr’acte also constitutes a key moment in a wider development of twentieth-century film, a significant film in a Deleuzian shift from movement-image to time-image. The film’s choreographic impetus is summed up in George Barber’s claim that the film, and the key shot of the dancer, are informed by Marcel Duchamp’s Large Glass. Entr’acte’s choreographic structure and its relation to the film is highly significant to a twentieth-century map of choreographic practices and screendance.

Keywords: screendance, avant-garde, choreography, cinematography, Deleuze, time-image, Rene Clair, Francis Picabia, Marcel Duchamp

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