别烦我 Emak-Bakia (1926)

影片可以看出超现实主义的苗头，但更多的是达达主义电影的表现内容。
达达主义的艺术主张在于挑战和打破传统的艺术规范，重新构建起新的规则和意义。影片在随性的素材剪辑、液态流动的画面、荒诞的镜头间将传统的电影模式全部消解，重新构建起一种新的电影规则。
影片的开头，摄影师通过摄像机观察世界。摄影机上出现了一只眼睛，暗示摄像机是导演或者摄影师观察世界的眼睛。
接着穿插了曼·雷导演的第一部达达主义电影《回归理性》中的镜头，表现出在摄影机的镜头中，世界依然是杂乱无章的，但又表现出某种秩...

94年前的先锋实验电影。
曼·雷是达达主义的代表人物，他把这些碎裂，解构，分离的局部镜头重新组装拼接成扭曲，毫无规律的片段，形成了偶然，随性，毫无意义的反艺术性境界。受立体主义的影响，穿插在画面中的几何物体在光影的运作下可以在固定镜头中呈流畅的运动状态。
他还利用"Rayograph"(实物投影技术)，将图钉，线圈和其他物体直接放在感光纸上，将其暴露在光线下。这种独有的拍摄方式，让图像处于抽象和具象之间，也为人们提供了新的图像观察方式。

When Man Ray’s short film “Emak-Bakia” debuted in Paris in 1926, critical opinion was mixed. One angry viewer shouted that it gave him a headache and hurt his eyes, to which another retorted, “Shut up!” A brawl ensued, which spread through the audience and spilled into the street. Then the police arrived to quell the riot.

The story comes from the film’s Wikipedia entry. It may be apocryphal, but it fits a long tradition of Paris art openings. Ray’s experimentation with abstract elements, surrealist motives, and stop-motion animation was avant-garde at the time. It earned his place in the French film movement known as Cinéma Pur. Today’s film critics, sated by special effects, just yawn. According to Chris Dashiell in a 2001 review in CineScene.com:

EMAK BAKIA (1926) displays the influence of both surrealism and dadaism. Once again Ray experiments with the movement of shapes…