$88030000~00. #co800 3980 a8 8 Pee R008 Marcel Duchamp’s ' Anémic-Cinéma Katrina Martin | ( | changes radically. Through the strange justaposton of elements the ‘ninute im, Despite Ductamp'sseputed 3 __—Se Bas MOIRA, a ees Aippancy and mockery of art work, his fm isa serious and coherent development ofthe same se of concerns {ound in his her major works. From ‘ANEMIC-CINEMA, iis posible to ‘make the connection tothe sense of {inal submitted ia 1947 aan ober are, ‘oro enjoy avery phallic object made in {954 enud objet dard-dard being ‘common French slang for penis Dichamp gave a ready-made thorough cosideration and tents actual ereton was thi asor of endezvous:-.-by pinning for ‘moment ro come (on such say auch a ‘Ste, such a omen) o urea ready- ‘aden r9rshe wrote aseries of four porteardsin which he alowed ‘Seablished syntax bu substruted words ‘which would resale the sentencer having no meaning. This he aid was Considerable as, since every time a word. Suggested a meaning, he had to chooee ‘nother ints place. Sigiicany, he Galle these pos-cards Rendesvou du ‘Eomanche or Sunday Renderour, Diichamp ws fciated by language ‘and had several plans forthe eention of Smentirly new one. He wrote that one of these was based on consonance’ "If what you want is grammatical rule: the verb forinstance,lendgre agri les ners sigrisent ou marion ef The Bln NEMIC-CINEMA is one reaieation ‘tau a pan. Each word Duchamp choos forthe fa hasbeen wed before, and hey therefore fonction as aj trovods, La ‘ANEMIC-CINEMG, Duchamp follows Fegular syntax, bur the apparent reson forhis word eboice has mare do with Sllkeration and consonance than wi ay ‘lear eferentil meaning. Toa Frenchie Speaking person, these phrases eppear ‘onsense, ye the viewer wil ty to deal, ‘with them ase she fs sed to dealing With aaguage. To the human animal, trords are more than orthographic Diesres or phonedc ener, and because ‘fthe inevitable linguistic convention of ‘words as symboli, languages inseparable om some referential meaning, The perceiver of ANEMIC-CINEMA will "rogale o read and so wil eet ‘ubjecive flection forthe words. Since consonance already eaphasizedin the hase, acts ofa gestalt of fee Esociation, and Duchamp is enaeing a ‘ew use ofthe pun. The words spite {hemecives as non-efeential nd the srst's opaque language ingeniousy ‘xplos tadiinal defn. ‘pun ie aleadyasule comment onthe function of language, where the consonant arrangement othe ‘words suggests an ininy oF potential ‘easing andtthe same de mocks any ‘onelive defnion. By dealing with languages an over, coneete phonetic tty, the pun quesons the value of language a an aberact metaphor. "Fhe i's ine Hague consguretions ate wetten inspiral form ‘om rotating isc tnd sown separately Benween each of ten ‘optic disc in evolution. Ia 1926, his spiraling image lteraaing becween graphic and verbal, {sitaeifa pun onthe alternating imager hd tiles of slenc en. The opie dace 6 axe very ike Duchamp's ‘Rotorelicts of {the 304 ands. Cicesare drawn on {them in non-cgncentric pater which in rotation crest thelusion of spitaling ‘motion, squessing in toward i centre nd dating ut toward the edge of he ‘ies and ofa perspecive which Simultaneously recedes into space and project from te seren toward the ‘ewer: Duchamp wrote tat he Would be lsppointedsthere discs were ken ‘anything but optic and cseems a well thatthe words of ANEMIC-CINEA ‘Should be ken face-valueas simply ‘words. But atthe sumetime, one mist {eckon withthe ironic humour of Duchamp. Tes for instance characteristic hate would describe himeelf ata bretther when the French for Deathe ‘epirer implies als apirer"oaspire’ and ‘nipiraleina pial. “The il ofthe rock consistent with the ambivalenrrntion and perspective of ‘hespialing images. ANEMIC i neatly CINEMA spliea backwards; the flm’'s firepit, the wo grape words incline towards eachother around ‘vertical axis, mirroring each other back nd fore ike ee motion of he spe ‘Duchamp thoupht of simultaneous reflecion a representation of nity Sndoften used pas or mieros ia is tron a relevant otis e, le Constructed a special screen forthe fst Showing of the Bm, which wasa piece of translucent gs like hat wed fore bathroom window, witha recive Iiroresiver backing, The projected Tighe would penetrate some int the screen before being reeced toward the ‘Viewer, and the ght then actually does. ‘what the lmn’s image suggests: i tavels rout with an ine mension, “Toby Msiman has writen that the opts ef base on: fhe concept that fro diferenr people watching the Sim at the same time would not be perceiving it Inenactythe same way al the ime, One's perception ofthe fm Would oselte fcording to one's optical faculties, which twecan assume ae ab widely variable as ny ofthe other physical characterise! “The same variecy must be given perception ofthe language Meanings erocied ast tikes or plates the ewer, according to his ore ow ‘Mussman has alo wetten tate beholder doesnot have suicient ‘opportunity to categorize the optical pay Nor doet the viewer have time taahvet ‘imslf physically tothe ambivalence the yes experiencing. The language 00, "chy complex and suggestive, shown {oralimiced time, end given the seven- ‘minute duration of te flm and the persistency ofthe eluively spiraling ‘tion, the beholder probably will aot be ‘ble techcidate an experience ofthe fim ‘Fragments of infected meaning a ‘raw ward the wrface of consciousness, yet attempts to same and contol remia rustrated and all ese ‘icro-thoughts remain jumbled inche ‘batter the bala proceser consul. ‘The wide varie of meaning Duchamp’: Jnguage understates recalls many dierent images, bu thes are ke the lnalvidul frames of lm wie cannot ‘be dsinguished separately. The viewer ievnable ro compile thie smattering of ‘Rateial into visualized images ‘epreventing cncmatic representation, ‘olnex these words with the linear ‘ramsition ofthe normal sentence "in ANEMIC-CINEMA, deBinitionig implied by ortography and consonance, 2nd yet the film hs no sound. The viewer (cope reads hears che Words Subjcxively and makes asoiations, peshaps aot even conseiouy. The Individual perceiver sin room darkened forprojecton, ad since some ofthe n'y Inmplcations are heal sexta, he or she ‘ay fee scandalized and not even know hy “Thu, while the viewer creates subject experience of the fm, a the ‘ame dlmebe or she remains sub Duchamp who hes created the flim ‘The arcs has contr the perceiver doesnot. Consistent with the developments of the twentieth cenrury, ‘Duchamp tas recognized that an arr ‘may nolonger chim to presearestatc ‘pierre’ but istead must del wid Ambiguity nd motion snd withthe perelverassocaly conditioned tosee Selecuvey,to categorize and inerpret. ‘But Duchamp goes much ferther, for in ntipating ariows subjective ‘eactons i he percelver as participant {nd creator inthe work of at, Duchamp ‘eas the upper hand ands actualy taping even the perceiver. Here ‘guia one mut reckon withthe buour of Duchamp, ANEMIC, par ofthe ttle, doesnot existin French exceptas an azagram of CINEMA. dndmigue, however, teans fsnaemico unhealthy. Amimé, another ‘pun means animated, BAINS DE GROS THE PO GRAINS DE BEAUTE SANS TROP. BENGUE, “This noun pra ay BE ee word Ou ‘Bains de gros he pour grain de beaut ‘ans Top de beng “The sounds es they build upon cach other are ike spiral. The associations ‘ulld upon cach odheraswelland he most appropriate diagram af this would beter own revolving spiral. The consonant sounds are ugaie in sroups of tues: by grt am—b 2 Desde The owe! sounds re aso Juged chefs evo phrases repenting (chyming)thelastphewevaryngthe 4, onder ofthe same sounds, The entire siting A Shmchihuetuectmesdeece 4 Rintrundairenchiscneet =P Dachampandfortimerresed BL inistyooitteumy tonite couple, andviveeis Takenas refrain 5) Sone Gonramabenid Suton) 3 Ait iromeniariicloos ‘4 2 i one | So eee saNeb: BRosTabucmtseOseraw a eews Weare cca ana oR at er Seen anes areata ee ae Seat io sirens Soares icone, Existence conser tana SESS Rn Soe ee os Seca Sn amie aioe siearanitee Seiten Sie cen en eee Ree are. fice cece gan Sacer nm copie sources! areca setactonen meet Secchi Eceervicatescahy cece eran” corte eeeiwacreeras Eepettie aja eee aepesdai ecaraiemras ikon semicon ets ie epee sei ae ae eee ge mencnran macnn cent Sate Scene iciecechet ieee tan eee Phrase. Beciuseaf the preposition POUR ‘or or inended forthe recive of 6 BAINS DE GROS THE GRAINS DE BEAUTE. Although GRAINS DE BEAUTE means beauty mars or mole, ‘he idiom esl refers to beau soenor reap o prostates Aso, rans de Beau ha (grain of beni {ea} seme related to che rulga idiom rains decaf (it grains of cates) ‘hich mane the itor SANS TROP DE DENGUE ‘without ro much BENGUE’ BENGUE is perhaps is pun, bain bath’ andar ‘nay’ andalto pe Teisaleo ‘henge Ben Gay, ented bya French doctor BENGUE, with such an lunguent’s eee connotations =the ‘modern counterpart is‘Deep Hen Ben Gay advertised inthe American ‘Sunday fannie with ile green tll (named Peer Pain of al nares) who Stabbed inthe pain and vhen hopped away ‘anguished, growing "Curses, led ‘gun’ as ue lle wife mastaged Ben Gay on her hubby's hucting muscles Tt seems evident that such an ake the {for Sepoia Enamels, would site Ductamp's fancy. Tn the shying relationship of GROS, BEAU sod TROP; GROS and BEAU xe oppaites, TROP ito much’ 20 that even here, dhe spzl goes in and ot ENFANT Qui TETE EST UN SOUFFLEUR DE CHAIR CHAUDE) ET NAIME PAS LE CHOU- Lenfan gue rte txt fia de chair chad frame pase chew de sere chad ‘Altra ransition woul be: The child who uses sucker (blower) the fsh and doe ot ite the aulitower ofthe i: gae-house "Pais seotnce could have vey gentle overtones: ENFANT hl ester ot eearent ver means 0 bow gen to sigh oro whisper, cher ‘dee fapun on CHAIR fest CHOU “dacting ia teem of endearment is FLEUR Bower (ea etjiow), server nena tg (GHATR CHAODE ‘wacm flesh? rele tothe mothe’ breare ad then the othigh meaning is something tke, {he lds uring beeute he doesnot like vegetables. CHATR CHAUDE teal means ho es, nd soufer tls mans wo blow on fod thar ito hot; thu, SOUFFLEUR DECHAIR GHAUDE is Slower of ot esh-food, “The homonym chr rom the dom ome chr) san legant word for Se aly fod. At he ame ies outer Smplieslowing on flesh eae Haro hx CHATR CHAUDE would be Prin esh Ths ts pee efers Succi to cepunce, Nest, fod, Sezai, cldomother, and pain. The “@Banicon’ becomes unl lke the perpectve of tops TTETE as sever plications as well 1. (6) tomuree and, obvious, tendon of mursog in aconter 2 ull of ferualinnuendoes rust imply incest, ‘which also a apalig ward alo, Incidental thi heme, n French {Bikoe children are Bonin (CHOU-FLEUR ‘aulitower plant) 3. Yo suck to booze. 3 (0) “ead th pu, lutte, tas, TETE, ‘Specialy in conjunction wes ET N'ALME PAS ‘who doen’ the inapliesobtinaey, eg ru ad.) ‘seubborn and tt de lard (ior) “fathead andulso che common nau, irae i Here again seer of Aefiitons which work together in many ‘diferen dimensions ‘Sondter isang for swindle. A oman of CHATR ‘Bes ie cher‘her ‘expensive’ Since in French any asst, say perform st. noun bythe addition of nail, chaude may be the hot one" (feminine gender) CHOU-PLEUR felatest9 SOUFFLEUR which can be braken down into sowsfeur‘penny ower, which would bea prostate, SERRE CHAUDE ‘ho gas house ‘would bea brothel. The sentence thus {len s that the cild who seks ie a swindler of an expensive bot one ho (anyway) dos noe ike the prow of the brothel "The senianceconain strong hint of homosemulity end or oa merous, and the tight overlay of words ves 2 {rammatial parallel Pare chowrhous {slang for homoserua ove making. ‘Sufi often ed imply oe, Inercourse in iioms sucha sou dan Te came, softer dant lemeriton TETE head with allo Jmplicadons in the fw phate relates to (CHOU-FLEUR in the tact pase ina (CHOU means head. FLEUR can aso Feferto the genitals, nd CHOU-FLEUR isolated by consonance SOUPFLBUR "bower, sucker’ Ifthe ‘words TETE and BST were reversed (he Sentence would sil sound amon the ‘ne, he rentence would ead: The Child whois, sucks a blower (ucker, Fvisher) of hoe es. ‘Duchamp has said,‘ would keto rasp an den atthe vagion grasps the penis! Server (7) means to gan, and hea. ET N'AIME PAS LE (CHOU-FLEUR DE SERRE CHAUDE Vwould mean’... who doesnot ike the Flowering galas of te ot seal pas. "Both Lebel and Schware have wae of Duchamp interest in slcbemy. ‘A SOUFFLEUR is someone whois looking forthe piloropers stone and Dchamp's ques ies thecuaive spiel SIJE TE DONNE UN SOU, DONNERA-TU PAIRE DE ISEAUX? "The form of is REA. A tra ranslcon i easy: IT give ou, penay, will ou give mea pit of scissors? Tn collogual French altiough tis grammacially incorrect, scissors ae not ‘sualy refered vo ass pai except in ‘wood-torking and toa shops. Ose Speak ofter chau inthe singular, ‘Duckamp's version maybe ngage contamination from English, I's Sereinlyadelbersce ure ofthe word PAIRE. Tae subject of te senence 2 pai (you; you me), and the pai of isons refers toa pit of thighs «paiof legs “TET give youa penny, wll you give meafick? Ta the Large Glan there i also parol