TAILIEUCHUNG - MARCEL DUCHAMP'S ANEMIC - CINEMA

Compliance with this document may require use of one or more features covered by proprietary rights (such as features which are the subject of a patent, patent application, copyright, mask work right or trade secret right). By publication of this document, no position is taken by NATO with respect to the validity or infringement of any patent or other proprietary right. NATO hereby expressly disclaims any liability for infringement of intellectual property rights of others by virtue of the use of this document. NATO has not and does not investigate any notices or allegations of infringement prompted. | 888 00OO oo 00 00 88 a 9 ISíêeáStỉ Marcel Duchamp s Anémíc-Cinéma l. 1 Translating the nine linguistic configurations of Marcel Duchamp s film ANEMIC-CINEMA is impossible. Not only do these phrases make constant use of alliteration and the pun both of t which devices refer implicitly to the French language but also V Duchamp s particular language may be understood only as it appears in this film. In attempting to make the I linguistic aspect of Duchamp s work I accessible to those who do not speak I French I have therefore abandoned the . normal method of translation which is to superimpose a corresponding number of Katrina Martin English words on the original film as sub-titles. Rather what follows is a description of the nine phrases as they function with relation to the film to Duchamp s oeuvre and to the French language as a whole. Duchamp made the film with Man Ray s help in France from 1924-26. He had earlier lived in New York from 1915-21 where he had become notorious for his work with the assisted ready-mades . Simply stated a ready-made is an object which has been taken out of a context which is in any way conventional and placed into a new and strange one whereby the function of the object chosen changes radically. Through the strange juxtaposition of elements the overwhelming power of their traditional context is contradicted and through this mitigation the artist gains freedom to make an original comment and a unique statement. The ready-mades took relatively little time and effort to assemble but at the same time they were each the manifestation of a long intellectual process. Likewise although ANÉMIC-CINÉMA is obviously not the product of daily travail in a studio that it took two years to create is justified in this seven-minute film. Despite Duchamp s teputed 53 flippancy and mockery of art work this film is a serious and coherent development of the same set of concerns found in his other major works. From 1 ANÉMIC-CINÉMA it is possible to make the

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