16mm Film: Entr\'acte 1924 Clair 18m 6s B/W Silent VIDEO evaluation
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16mm Film: Entr\'acte 1924 Clair 18m 6s B/W Silent VIDEO evaluation:
$225.00
☛Ᏹ⊛ Analog Entertainment At It’s Best! ⊛Ᏹ☚
★★★★★
16mm Film: Entr\'acte
1924 Clair 19m 32s
Print circa: 1963 on 1 600’ steel reel in steel can.
Better than vinyl, this is 16mm film!
>>> Ships free within the USA via USPS Media Mail<<<
Director: René Clair
Writers: Francis Picabia (screenplay), René Clair (adaptation)
Stars: Jean Börlin, Inge Frïss, Francis Picabia, Marcel Duchamp, Man Ray, Erik Satie
Cinematography: Jimmy Berliet
Production Co: Les Ballets Suedois
Release Date: 4 December 1924
Runtime: 19 min 32 sec @ 18 fps (head title to end title - excluding leaders)
Sound Mix: Silent
Color: Black and White
Film Stock: Agfa Gevaert 1S (pre 1963)
Odors: None
Splice count: 0 - No Splices
Aspect Ratio: 1.33 : 1
Containment: Steel 600’ reel, archival steel 600’ can (not original can)
Item Weight: 2 lb, 15 oz
Shipping Dimensions: 12”x12”x3” 4 lb, 2 oz. Shipped padded in new materials.
Dadaist Mayhem: A Cannon, An Egg,
A Camel and A Runaway Hearse!
(Please use controls lower right of video to view full screen in 1080 HD)
This is a used vintage print in very good condition. Reserve print from a private collection with very few projections. This print has no splices and full printer leaders. This print also has the complete title sequence, which is quite rare for this film. This is the most complete version I have seen. There are no emulsion scratches in the print. The print is somewhat contrasty due to the generational nature of this film’s survival. There are some cuts, noise and scratches printed in from the source material, as the few original prints were handled by inebriated Dadaists and projected with wild abandon in dusty garrets in and around Paris to audiences both respectable and nefarious. The source material is naturally rife with interesting artifact, and yet such additions seem somewhat appropriate for the subject matter. The print has been professionally cleaned and lubricated prior to its latest projection for this posting with a dry-silicone infused reverse wiping system. I have owned this print since 1998. This print lays flat in the gate, is quite sharp, and projects well.
From Film Images 1974 Catalog Vol 2 pg 37:
A humorous fantasy commissioned by the Ballet Suedois de Rolf Mare, made by a group of French intellectuals of the 1920s, this is one of the most celebrated of the French avant-garde films. The keen filmic sense of Rene Clair combined with the irreverence of the Dadaists produced a film in which inanimate objects are endowed with a riotous life of their own. A mock funeral pro cession, with a hearse drawn by a camel and a party of mourners in hot pursuit is a brilliantly sustained chase sequence, typical of the absurd and unexpected events in this film.
Entr\'acte means \"between the acts.\"
Entr\'acte is a 1924 French short film directed by René Clair, which premiered as an entr\'acte for the Ballets Suédois production Relâche at the Théâtre des Champs-Élysées in Paris. The music for both the ballet and the film was composed by Erik Satie. (This print is SILENT)
For this production, the Dadaists collaborating on the project invented a new mode of production: instantanéisme. The complete film takes about 20 minutes using such techniques as watching people run in slow motion, watching things happen in reverse, looking at a ballet dancer from underneath, watching an egg over a fountain of water get shot and instantly become a bird and watching people disappear. The cast included cameo appearances by Francis Picabia, Erik Satie, Man Ray, and Marcel Duchamp. The conductor of the orchestra at the premiere was Roger Désormière.
The two parts of the film are as follows (note that time indications are approximate, since neither film nor music techniques at the time of the premiere allowed exact temporisation in a public performance):
A sequence of about 90 seconds, starring Satie and Picabia firing a cannon from the top of a building. This sequence, as silent movie, was played at the beginning of the ballet, right after the \"little overture\" (\"Ouverturette\"), and before the curtain raised (\"Rideau\"). The music to this part of the film is called \"Projectionnette\", and is included as 2nd item in the Relâche partition. There appears no real effort for music to film synchronisation in this part of the film. Probably the \"Projectionnette\" music was played two or three times before proceeding to the \"Rideau\" part of the music.
The rest of the film was played as entr\'acte between the two acts of the ballet. The score for this part of the film is not included in the Relâche partition, but was written down by Satie in a separate score, titled \"Cinéma\". This part of the music contains \"expandable\" repeat zones, in order to match the start of a new tune with certain events in the film, thus it was one of the earliest examples of music to film synchronization. In the score, Satie names 10 sections that are associated with scenes in the film. - Wikipedia
The accompanying manifesto for the Film as appearing on the cover of Picabia’s final edition (n.19) of the Dada journal 391 (1924):
L’INSTANTANÉISME: DOES NOT WANT YESTERDAY.
L’INSTANTANÉISME: DOES NOT WANT TOMORROW.
L’INSTANTANÉISME: MAKES ENTRECHATS. (probably from Italian intrecciare: “to weave,” or “to braid”, a jump in ballet, beginning in the fifth position, during which the dancer crosses his straight legs at the lower calf. Numerous rapid crossings make the entrechat a spectacular jump.)
L’INSTANTANÉISME: MAKES PIGEON WINGS.
L’INSTANTANÉISME: DOES NOT WANT GREAT MEN.
L’INSTANTANÉISME: BELIEVES ONLY IN TODAY.
L’INSTANTANÉISME: WANTS FREEDOM FOR ALL.
L’INSTANTANÉISME: BELIEVES ONLY IN LIFE.
L’INSTANTANÉISME: BELIEVES ONLY IN PERPETUAL MOTION.
Fast forwarding to the 20th century, we see that the perplexity of the “now” still eluded and seriously worried even Albert Einstein, who—according to Rudolf Carnap’s report—famously remarked that “there is something essential about the Now which is outside the realm of science.”71 Needing no further endorsement, the artistic rationale for living “in the now” was embraced in Picabia’s anti-surrealist, anti-Breton theory of Instantanéisme (“instantaneity” or “snapshot”) from 1924, although Picabia was probably unaware of Einstein’s views. What exactly is Instantanéisme? While no official manifesto was published, the final issue of Picabia’s Dada journal 391 (n. 19, October 1924) assumed that role, being newly entitled “391: Journal de l’Instantanéisme pour quelque temps.” Proclaiming it as “not a movement. It is the perpetual movement!” the cover listed the (anti-) movement’s tenets. – DAVID TRIPPETT writing in The Journal of Musicology 2007 “Composing Time: Zeno’s Arrow, Hindemith’s Erinnerung, and Satie’s Instantanéisme”
FAQ:
Do I have to take the can?Yes, you do, both for shipping protection and for preservation. (It doesn’t weigh that much compared to the film.)
Is there a cheaper way to ship overseas?Not without insurance and delivery confirmation, both required for buyer and seller protection.
Why is there foam padding in the cans? To protect the film in shipping. The foam is not archival and should be removed before storage.
Why do the photos show a lot of reels and cans? I show both sides of all reels and both sides of each can half.
Do I have to use Paypal?Yes, you do.
Will you change the customs form?No, it will reflect the sale exactly.
Can I take a long time to pay? That would be impolite, and can delay shipping turnover. Please communicate if payment is to be delayed.
When will you leave response? Shortly after you, the buyer, does. I want to be certain you are happy with the purchase and service.
Is there anything else you can tell me about this item? Let your eyes be your guide: consult the photos and video for full disclosure of anything overlooked in the text description.
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(This is NOT from this film... Gloria Swanson: wet in the rain)