R. Bruce Elder is an award-winning filmmaker and teaches media at Ryerson University. His book Harmony & Dissent (WLU Press, 2008) received the prestigious Robert Motherwell Book Prize and was named a Choice Outstanding Academic Book. Rudolf Kuenzli described DADA, Surrealism, and the Cinematic Effect (WLU Press, 2013) as "that rare book that casts the early twentieth-century avant-garde in a very new light."

"'DADA, Surrealism, and the Cinematic Effect', Bruce Elder's superb companion volume to his earlier 'Harmony and Dissent', convincingly demonstrates that for the early twentieth-century avant-garde movements, cinema was the model, the preeminent form that prompted a recasting of the other arts. This wide-ranging study shows that Dada artists created cinematic collages and transformative machines, whereas Surrealists developed the film script as a new literary genre. His brilliant analyses of Duchamp's 'Anémic cinema', Man Ray's 'Retour À la raison' and 'Emak Bakia', and Buñuel's 'Un chien andalou' and 'Las Hurdes' are only surpassed by his intricate explication of Ernst's cinematic collage novels, which he relates as models for Lawrence Jordan's surrealist films. This is that rare book that casts the early twentieth-century avant-garde in a very new light." -- Rudolf Kuenzli, director, International Dada Archive, University of Iowa

• Table of Contents for DADA, Surrealism, and the Cinematic Effect by R. Bruce Elder Preface 1 The Fate of Reason in Modernity The Modern Paradigm: Privileging Reason Geometry and Geometries Foundationalism Collapses Logic and Paradox Continuity and the Foundations of Physics Cantor and the Strangeness of Infinity Formalist Mathematics and the Limits of Reason Consequences of Reason's Retreat âPrimitivismâ as a Response to the Collapse of Reason Notes 2 Dadism and the Disasters of War The ZÃ"rich Coterie and Their Antics The Dada Conspirators: Tristan Tzara The Dada Conspirators: Hugo Ball and Emmy Hennings The Dada Conspirators: Francis Picabia The KÃ"nstlerkneipe Cabaret Voltaire and the Galerie Dada DADA: War and Politics DADA against Burgeoning of Nationalism: What DADA Might Have Prevented A Precursor of DADA: The Comic Grotesque The Diffusion of DADA The Conditions That Produced the State of Mind Known as DADA Elementalism's Menacing Lure DADA: Art and Anti-Art DADA and the Life Principle Constructive DADA Hans Richter on the Six Forms of Use in Returning Art to Its Elementary Condition Dada Forms: Collage Further on Collage's New Notion of Form DADA and Language Parallels with the Russian Trans-Rationalists and Andrei Bely Zaum and the Higher Consciousness of Trans-Sense Picabia, Man Ray and the Dadaist Art of the Machine Duchamp and DADA's Art of the Machine Entr'acte (1924): Commentary Man Ray's DADA Cinema Emak Bakia : Introduction Emak Bakia : Commentary DADA: In conclusion Notes 3 Surrealism and the Cinema Beginnings Psychoanalysis and the Occult: The Intrusion of Alien Forms into Consciousness and the Poetics of the Surrealist Literary Image DADA and Surrealism Hippolyte Taine, Hasard Objectif , the Poetic Image and the Cinema The Cinema, Photography and âthe Marvellousâ Photography, the Surrealist Object, and the Unheimlich Ernst's Frottage as a Handmade Trace and Automatist Form Surrealism, Apollinaire, and Reconciliatio Surrealism and the Hegelian Dialectic Surrealism and the Freudian Dialectic Dalí, the Double Image, and Paranoiac-Critical Methods Dalí Against Idealism Dalí, Paranoia and Lacan: A New Phase of Surrealism Begins Lacan's Theories and Surrealists' Conception of the Poetic Image Un chien andalou : Commentary An Anti-art Film The Verbal Image Surrealism's Fissures and Luis Buñuel's Las Hurdes: Tierra sin pan Las Hurdes and the Documentary Dialectical Structure in Las Hurdes Las Hurdes and Bataille's Heterology Las Hurdes and the Sacred Las Hurdes as an Ethnographic Film The Hurdanos in History How Surrealism Has Been Passed Down into the Twenty-First Century: The Marvellous Correspondence between Max Ernst's Collage Novels and Lawrence Jordan's Films Collage as a Pneumatic Device: Through Ernst to Jordan The Surrealist Collage Novel: Une semaine de bonté ââDimancheâ (Calcination) The Surrealist Collage Novel: Une semaine de bonté ââLundiâ (Dissolution) The Surrealist Collage Novel: Une semaine de bonté ââMardiâ (Separation) The Surrealist Collage Novel: Une semaine de bonté ââMercrediâ (Conjunction) The Surrealist Collage Novel: Une semaine de bonté ââJeudiâ (Putrefaction/Fermentation) The Surrealist Collage Novel: Une semaine de bonté ââVendrediâ (Distillation) The Surrealist Collage Novel: Une semaine de bonté ââSamediâ (Coagulation) The Surrealist Collage Novel: Une semaine de bonté ââSamediâ (Coagulation) Lawrence Jordan between Surrealism and Alchemy Lawrence Jordan's Duo Concertantes : Commentary Part One: The Centennial Exposition Part Two: Patricia Gives Birth to a Dream by the Doorway Notes In Lieu of a Conclusion Appendix 1: How Reason Lost its Purchase on Reality Notes Appendix 2: Infinity Confounds Reason Notes Appendix 3: An Account of Gödel's Proof for Poets, Painters and Art Historians Notes Appendix 4: Emak Bakia : A Shot Analysis and Commentary Notes Appendix 5: Un chien andalou : A Shot Analysis and Commentary Notes Appendix 6: Land without Bread : An Shot Analysis and Commentary Notes Appendix 7: Analysis of Larry Jordan's Duo Concertantes Part One: The Centennial Exposition Part Two: Patricia Gives Birth to a Dream by the Doorway Duo Concertantes Musical Form: Tables Duo Concertantes Part 1: The Centennial Exposition Duo Concertantes Part 2: Patricia Gives Birth to a Dream by the Doorway Index