Select one modernist film from the list below arguing how it enacts and engages with the concepts of modernism.
Is the film Dadist, Surrealist, Expressionist, or Constructivist, and why?
What are the specific traits of that particular modernist genre? What are the effects of the modernist techniques used in the film?
How does the film break with Realist practices (define them) and what are the conceptual or aesthetic consequences of that break?
Please refer to specific scenes and shot sequences from the film to support your answer. Draw upon the readings and the lectures to support your argument.
Films (choose one): Man Ray, Return to Reason (1923); Marcel Duchamp, Anémic Cinéma (1926); Luis Buñuel and Salvador Dalí, Un Chien Andalou (1929); Robert Weine, The Cabinet of Dr. Caligari (1920). Sergei Eisenstein, Battleship Potemkin (1925)
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