{"id":11319,"date":"2012-04-26T02:24:01","date_gmt":"2012-04-26T01:24:01","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=11319"},"modified":"2012-04-26T02:24:01","modified_gmt":"2012-04-26T01:24:01","slug":"anemic-cinema","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2012\/04\/26\/anemic-cinema\/","title":{"rendered":"An\u00e9mic Cin\u00e9ma"},"content":{"rendered":"

\"anemic.jpg\"<\/a><\/p>\n

It’s no doubt up to the viewer to decide what constitutes anaemia in Marcel Duchamp’s 7-minute film. An\u00e9mic Cin\u00e9ma<\/em><\/a> was made the same year as Emak-Bakia<\/em> with the assistance of Man Ray and Marc All\u00e9gret. Duchamp’s Rotoreliefs<\/em> spin hypnotically alternating with punning epithets in French. The spinning artworks later appeared as Duchamp’s contribution to Hans Richter’s Dreams That Money Can Buy<\/em><\/a> (1947).<\/p>\n

Previously on { feuilleton }
\n\u2022 Emak-Bakia<\/a>
\n\u2022 Un Chien Andalou<\/a>
\n\u2022 Ballet M\u00e9canique<\/a>
\n\u2022 Dreams That Money Can Buy<\/a>
\n\u2022 La femme 100 t\u00eates by Eric Duvivier<\/a>
\n\u2022 Entr\u2019acte by Ren\u00e9 Clair<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

It’s no doubt up to the viewer to decide what constitutes anaemia in Marcel Duchamp’s 7-minute film. An\u00e9mic Cin\u00e9ma was made the same year as Emak-Bakia with the assistance of Man Ray and Marc All\u00e9gret. Duchamp’s Rotoreliefs spin hypnotically alternating with punning epithets in French. The spinning artworks later appeared as Duchamp’s contribution to Hans … Continue reading “An\u00e9mic Cin\u00e9ma”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[49,2,7],"tags":[3258,241,3620,1200,5261],"class_list":["post-11319","post","type-post","status-publish","format-standard","hentry","category-abstract-cinema","category-art","category-film","tag-hans-richter","tag-man-ray","tag-marc-allegret","tag-marcel-duchamp","tag-rene-clair"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2Wz","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11319","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=11319"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11319\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=11319"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=11319"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=11319"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}