1 00:00:06,105 --> 00:00:08,631 Documentary Film Award, Romanian Filmmakers' Union, 1993 2 00:00:08,631 --> 00:00:11,052 Best Video Award, Costinesti National Festival, Romania, 1993 3 00:00:11,052 --> 00:00:13,052 Experimentarl Film Award, Mediaware International Film Festival, Győr, Hungary, 1994 4 00:00:13,157 --> 00:00:15,473 Third Prize, International Anthropological Film Festival, Romania, Sibiu, 1994 5 00:00:15,473 --> 00:00:17,789 First Prize, Documentary Film Festival, Cotroceni National Museum, Romania, 1995 6 00:00:34,210 --> 00:00:37,052 SHRIEK INTO THE EAR-DRUM 7 00:00:38,736 --> 00:00:42,000 The romanian avantgarde 1916-1947 8 00:00:42,210 --> 00:00:44,842 The history of the romanian artistic avantgarde movement 9 00:00:44,842 --> 00:00:47,473 begins at the same time with the europan one, in the winter of 1916. 10 00:00:47,473 --> 00:00:49,684 Young artists, german and romanian refugees, 11 00:00:49,684 --> 00:00:51,684 gather around the Cabaret Voltaire in Zürich. 12 00:00:51,684 --> 00:00:53,684 The DADA movement is born. 13 00:00:53,684 --> 00:00:55,684 Among its promoters, Tristan Tzara and Marcel Iancu. 14 00:01:19,789 --> 00:01:22,315 Here is a hesitating world on the run. 15 00:01:22,421 --> 00:01:25,368 And there are on the other side the tough new men 16 00:01:25,368 --> 00:01:28,210 jogging on the backs of sighs. 17 00:01:28,736 --> 00:01:32,000 Here is a mutilated world, and there are the literary healers, 18 00:01:32,000 --> 00:01:33,684 busy at enriching it. 19 00:01:33,789 --> 00:01:38,000 I warn you, there is no beginning and we are not trembling, 20 00:01:38,000 --> 00:01:39,684 we are not being sentimental. 21 00:01:39,684 --> 00:01:42,947 We tear up like a wild wind the clothes of the clouds 22 00:01:42,947 --> 00:01:47,157 and of the prayers, and we prepare the great show of disaster. 23 00:01:47,263 --> 00:01:48,200 The great fire. 24 00:01:48,200 --> 00:01:49,466 The decomposition. 25 00:01:49,733 --> 00:01:53,800 We prepare the suppression of pain and we replace tears with sirens, 26 00:01:53,800 --> 00:01:55,800 stretching from one continent to another. 27 00:01:56,466 --> 00:02:00,933 Pavilions of joy, bereft of the sadness of poison. 28 00:02:01,066 --> 00:02:05,133 DADA is the method to learn abstraction, 29 00:02:05,133 --> 00:02:09,200 even advertising and business are poetical elements. 30 00:02:51,333 --> 00:02:54,933 The violent protest of the entire being directed 31 00:02:54,933 --> 00:02:57,911 towards demolishing action is DADA. 32 00:02:58,488 --> 00:03:00,933 The abolition of memory - DADA. 33 00:03:00,933 --> 00:03:03,777 The abolition of archeology - DADA. 34 00:03:03,777 --> 00:03:06,088 The abolition of prophets - DADA. 35 00:03:06,088 --> 00:03:08,311 The abolition of the future - DADA. 36 00:03:08,311 --> 00:03:12,133 The unchallenged faith in any God readily produced 37 00:03:12,133 --> 00:03:14,977 by spontaneity - DADA. 38 00:03:16,666 --> 00:03:18,577 Freedom - DADA. 39 00:03:18,755 --> 00:03:19,466 DADA. 40 00:03:19,733 --> 00:03:20,355 DADA. 41 00:03:20,666 --> 00:03:22,355 Roar of crammed paint. 42 00:03:22,350 --> 00:03:26,977 Meeting point of all contraries, of all contradictions, 43 00:03:26,977 --> 00:03:32,400 of every grotesque motif, of any incoherence, life. 44 00:03:53,511 --> 00:03:55,377 I can imagine Urmuz in his lifetime, 45 00:03:55,377 --> 00:03:57,822 especially in his social life of miserable conventions 46 00:03:57,822 --> 00:04:00,222 as a child - locked up by his parents in a room. 47 00:04:00,800 --> 00:04:03,777 There, his only corespondent action would be to overthrow 48 00:04:03,777 --> 00:04:06,177 the oppressive order, to torture and alter 49 00:04:06,177 --> 00:04:09,600 the utilitarian meaning of every object he'd been locked up with. 50 00:04:10,844 --> 00:04:13,333 Thus, the box of the piano is filled up with odds 51 00:04:13,333 --> 00:04:14,400 and ends on the shelves. 52 00:04:14,400 --> 00:04:14,444 And Napoleon looks better with a mustache. and ends on the shelves. 53 00:04:14,444 --> 00:04:16,250 And Napoleon looks better with a mustache. 54 00:04:16,250 --> 00:04:18,125 And the objects on the table look better under the bed, 55 00:04:18,125 --> 00:04:19,800 and those under the bed - in the fireplace. 56 00:04:23,200 --> 00:04:26,600 These mere-pranks, these childish gests that will never be given 57 00:04:26,600 --> 00:04:28,600 the attention they actually deserve, 58 00:04:28,925 --> 00:04:31,125 nevertheless keep locked inside them a core of genuine 59 00:04:31,125 --> 00:04:32,725 and perfect tragedy. 60 00:04:33,600 --> 00:04:38,775 Urmuz, a prisoner of his lamentable life, did the same in his writing. 61 00:06:02,575 --> 00:06:04,525 Down with art, for she has made herself a prostitute! 62 00:06:04,875 --> 00:06:08,050 Poetry is nothing but a press to squeeze a tear gland 63 00:06:08,050 --> 00:06:10,050 of girls at any age. 64 00:06:10,200 --> 00:06:14,575 The theater  - a prescription for the can food marchend's melancholy. 65 00:06:14,800 --> 00:06:17,400 Literature- a flat clistor. 66 00:06:17,725 --> 00:06:21,025 Drama - a jar of painted fetus. 67 00:06:21,025 --> 00:06:25,825 Painting - the rag of nature laid in brothel saloons. 68 00:06:26,050 --> 00:06:28,800 Music - a means of locomotion in the sky. 69 00:06:29,025 --> 00:06:32,725 Sculpture - the science of dorsal fondling. 70 00:06:32,825 --> 00:06:36,725 Architecture - an enterprise for pompous tune. 71 00:06:36,975 --> 00:06:40,850 Politics -  a job for sextons and brokers. 72 00:06:40,850 --> 00:06:44,600 The moon - a brothel window on which the kept man of the banal knock 73 00:06:44,600 --> 00:06:49,075 and starving men from arts wagons rest. 74 00:06:49,725 --> 00:06:53,450 We want the wonder of the new and self-contained world. 75 00:06:53,950 --> 00:06:58,375 The plastic, rapid and strict expression of the Morse operator. 76 00:07:05,200 --> 00:07:08,650 Abstractism, also called cubism by those in the wrong, means, 77 00:07:08,650 --> 00:07:11,125 first of all, the liberation of painting from the aspects of life 78 00:07:11,125 --> 00:07:12,450 and from outer science. 79 00:07:12,975 --> 00:07:17,400 Ultimately, abstractism neglects the model, the aspects of nature, 80 00:07:17,400 --> 00:07:19,125 the old pretext for painting. 81 00:07:19,400 --> 00:07:21,575 It is no longer the interpretation of the outer world, 82 00:07:21,575 --> 00:07:23,750 nor does it look for support inside that world. 83 00:07:24,125 --> 00:07:25,750 It is inner, it is personal.  84 00:07:34,025 --> 00:07:37,175 The contemporary soul demands its city build anew. 85 00:07:37,375 --> 00:07:42,525 The modern art had found its definitive seal by this city roads overflow. 86 00:07:42,825 --> 00:07:45,625 Constructivist architecture through its abstract harmony, 87 00:07:45,625 --> 00:07:50,600 through its balance of essential forms sets itself as a firm, unremovable necessity. 88 00:07:51,025 --> 00:07:55,600 Houses must no longer be thrown at random along streets full of holes. 89 00:07:55,700 --> 00:07:59,050 They must be built massively in a constructivist way, 90 00:07:59,050 --> 00:08:02,650 bearing the entire hard and sensibility of this age. 91 00:08:05,675 --> 00:08:07,825 Cinema is the drama of motion. 92 00:08:08,050 --> 00:08:10,675 In a photogenic picture, the actors, the background, 93 00:08:10,675 --> 00:08:13,250 the Lilliputians scenes, the coincidence of different moments, 94 00:08:13,250 --> 00:08:16,575 are all nothing but tools, for filmmaking is the first art 95 00:08:16,575 --> 00:08:18,800 which through its very nature leaves imitation behind 96 00:08:18,950 --> 00:08:20,350 and creates the fantastic.  97 00:08:57,550 --> 00:09:00,500 From the concert of machines, free of the idiocy of principles, 98 00:09:00,500 --> 00:09:03,525 the 75 horse power has started its way towards tough achievements. 99 00:09:03,625 --> 00:09:07,650 Above, the flashing, incorrigible, non formula personality 100 00:09:07,650 --> 00:09:09,075 of the painter Victor Brauner. 101 00:09:09,225 --> 00:09:11,950 By his side, the daring Ilarie Voronca, 102 00:09:11,950 --> 00:09:13,950 Stephan Roll, Miguel Donville. 103 00:09:14,025 --> 00:09:17,225 With such elements, art will remain forever new. 104 00:09:34,900 --> 00:09:38,000 It is hard to over estimate the contribution of the modernist 105 00:09:38,000 --> 00:09:39,725 experience to literature and to the visual arts. 106 00:09:39,975 --> 00:09:43,125 In the last 5 years, the whole load of melancholy, 107 00:09:43,125 --> 00:09:45,200 school girls, romanticism was lost. 108 00:09:45,200 --> 00:09:47,875 Forgotten in suburban railway stations, 109 00:09:47,875 --> 00:09:49,900 in the old sacramental sound of the street organ. 110 00:09:49,900 --> 00:09:54,850 Now, fresh with new virginities, painted or written thought, 111 00:09:54,850 --> 00:09:58,200 cleaves open sonorously unfolded steps. 112 00:09:58,500 --> 00:10:00,600 Inside airplanes, passengers with tough sensibilities 113 00:10:00,600 --> 00:10:02,350 play poker or tap dance on their hands 114 00:10:02,350 --> 00:10:05,200 and a sharp edge of sensation no longer stops sterile 115 00:10:05,200 --> 00:10:08,925 on the retina and fruitfully breaks doom-dum its way onto the meninx. 116 00:10:33,300 --> 00:10:37,575 Ethic transformations have always run parallel to the social ones, 117 00:10:37,575 --> 00:10:40,375 and especially to the scientific and technical changes. 118 00:10:40,675 --> 00:10:44,075 The links between these distinct aspects are so tight 119 00:10:44,075 --> 00:10:47,675 that we can easily imagine a scholar of the future guessing 120 00:10:47,675 --> 00:10:52,525 the entire sensitivity and the culture of an epoch from a car screw 121 00:10:52,525 --> 00:10:55,950 found in an excavation, just like contemporary researchers have 122 00:10:55,950 --> 00:10:59,575 recomposed anti- antediluvian animals from a single bone. 123 00:11:00,275 --> 00:11:03,200 No doubt, our allegation will make many people smile. 124 00:11:03,400 --> 00:11:06,125 And still, this connection is unbreakable. 125 00:11:06,125 --> 00:11:10,750 Every laboratory experience echoes in some work of art. 126 00:11:15,175 --> 00:11:18,500 Art is a tinder box that sparkles only after an effort, 127 00:11:18,500 --> 00:11:20,900 an opposition or a fight. 128 00:11:21,225 --> 00:11:26,925 Always easy to understand are only restaurant menus or administrative orders. 129 00:11:27,250 --> 00:11:31,925 A work of art that suddenly suits the public taste is in no way superior 130 00:11:31,925 --> 00:11:35,425 to a salad, spontaneously arousing the consumer's enthusiasm. 131 00:11:35,550 --> 00:11:39,500 In the field of visual arts, Romania is, with its few strong elements, 132 00:11:39,500 --> 00:11:41,775 at a perfectly European level.  133 00:12:07,650 --> 00:12:09,475 Man, an invention. 134 00:12:09,825 --> 00:12:11,350 He invented himself. 135 00:12:11,800 --> 00:12:16,675 Willingly, he populated the vacuum with sites, seasons, civilizations. 136 00:12:25,320 --> 00:12:30,125 Will it forever, under the sign of the city, filter intelligence, 137 00:12:30,125 --> 00:12:32,125 lucidity, surprise, 138 00:12:32,450 --> 00:12:34,125 rhythm, speed. 139 00:12:36,750 --> 00:12:39,775 Our poet creates with his typewriter. 140 00:12:40,525 --> 00:12:43,350 Our painter builds with compasses and ideas. 141 00:12:44,075 --> 00:12:48,875 Our artist is furnished with all modern comfort like an American skyscraper. 142 00:12:51,850 --> 00:12:55,575 from up there all vision is intercontinental. Stop! 143 00:12:56,150 --> 00:12:59,900 From the one side it narrows spirit of separate attempts. 144 00:13:00,225 --> 00:13:03,775 From the patchwork exploitation of our sensibilities 145 00:13:03,775 --> 00:13:08,150 we have passed on to the enormous synthesis of today integralism. 146 00:13:08,425 --> 00:13:14,625 With firm, gigantic steps, we are heading towards a burning epoch of classicism.  147 00:13:27,900 --> 00:13:31,125 We are not individual archangels flying over society. 148 00:13:31,500 --> 00:13:35,075 Caught in the system, we live in it, through it, for it. 149 00:13:35,225 --> 00:13:39,275 One represents, but we all represent mechanics 150 00:13:39,275 --> 00:13:42,350 obsessed with their hobbies, nothing more. 151 00:13:44,825 --> 00:13:47,575 Journalism has foreseen the essence of modern life 152 00:13:47,575 --> 00:13:50,525 crudely exploiting a life that needs no interpreter. 153 00:13:51,025 --> 00:13:54,650 Porter, tax collector,sentimental commentary. 154 00:13:55,050 --> 00:13:59,525 Our experience has nevertheless provided a cool severity,free from sentimentalism. 155 00:14:07,725 --> 00:14:12,400 We synthesize the will of life from old times and old places 156 00:14:12,400 --> 00:14:15,425 and the efforts of all modern experiments. 157 00:14:15,750 --> 00:14:19,475 Sunk into collectivity we created style according to its instincts, 158 00:14:19,475 --> 00:14:21,100 which it is hardly aware of. 159 00:14:21,500 --> 00:14:26,900 The deaf have still not heard, the daring have joined us. 160 00:15:50,150 --> 00:15:53,175 Reader, this infests your brain. 161 00:15:53,525 --> 00:15:54,550 Shriek  into the ear drum. 162 00:15:54,825 --> 00:15:59,825 Airplane, DFF, radio, television, 76 horse power. 163 00:16:00,150 --> 00:16:01,075 Marinetti 164 00:16:01,200 --> 00:16:02,100 Breton 165 00:16:02,350 --> 00:16:02,975 Vinea 166 00:16:03,150 --> 00:16:03,925 Tzara 167 00:16:04,175 --> 00:16:05,375 Ribemont Dessaignes 168 00:16:05,700 --> 00:16:06,550 Arghezi 169 00:16:06,725 --> 00:16:07,675 Brancusi 170 00:16:07,975 --> 00:16:09,550 Theo van Doesburg. 171 00:16:10,375 --> 00:16:12,375 Hooray, hooray, hooraythe! 172 00:16:12,575 --> 00:16:14,500 crap is burning in the libraries. 173 00:16:21,525 --> 00:16:23,600 Let it be known, now and forever. 174 00:16:23,750 --> 00:16:27,975 "Contimporanul" has nothing in common with our enthusiasm and our youth, 175 00:16:28,250 --> 00:16:32,900 with the art and the spirit that we alone represent here this very hour. 176 00:16:33,100 --> 00:16:34,475 And there is something else. 177 00:16:34,900 --> 00:16:38,975 Even without the dubious, flagrant attitude of "Contimporanul". 178 00:16:39,375 --> 00:16:42,750 The movement, it intended to promote and in which 179 00:16:42,750 --> 00:16:45,175 it got involved in its very appearance. 180 00:16:45,175 --> 00:16:49,425 The constructivism is totally alien from the present views of UNU 181 00:16:50,575 --> 00:16:54,650 Which claims for itself a conduct entirely separate from reality, 182 00:16:54,950 --> 00:16:59,375 entirely outside the utilitarian constructivism, as shown in architecture.  183 00:17:34,425 --> 00:17:40,000 Our activity in ink is a tragedy, far from any playful wish to make literature. 184 00:17:40,250 --> 00:17:45,950 For us, a career in writing is no ideal that we could praise in ecstasy, like an aura. 185 00:17:45,950 --> 00:17:50,375 Our writing is not to search for a world longed for, 186 00:17:50,375 --> 00:17:54,825 rather than maddening, implacable need to escape another world. 187 00:17:55,175 --> 00:17:59,550 It is not an exasperation with the world, or a country, or a certain category. 188 00:17:59,550 --> 00:18:03,850 It is the total organic exasperation, a cosmic exasperation. 189 00:18:35,675 --> 00:18:38,450 Beauty in art is a prejudice. 190 00:18:38,950 --> 00:18:41,575 Intelligence is a negative analytic factor. 191 00:18:41,850 --> 00:18:45,175 Art is a positive, synthetic, constructive one. 192 00:18:46,075 --> 00:18:48,425 Invention is an ability. 193 00:18:48,700 --> 00:18:50,425 Imagination is creation. 194 00:18:50,925 --> 00:18:54,900 The art of children, folk art, the psychopath's art, 195 00:18:54,900 --> 00:18:58,550 the art of primitive peoples, are the most vivid, 196 00:18:58,550 --> 00:19:01,750 the most expressive, because they come from deep down. 197 00:19:02,000 --> 00:19:04,800 They are organic and have no culture of beauty. 198 00:19:05,675 --> 00:19:09,500 Sensibility grows like finger nails from the flesh. 199 00:19:10,500 --> 00:19:16,175 Folk arts - the most powerful examples of sensibility standards, 200 00:19:16,525 --> 00:19:20,650 the ax always creates fresh things on a tabular rasa. 201 00:19:31,325 --> 00:19:36,325 Our technical non traditional civilization is creating its own artistic form, 202 00:19:36,325 --> 00:19:38,150 its new human type. 203 00:19:38,775 --> 00:19:42,775 Each culture preserves its substance in a compact look, 204 00:19:42,775 --> 00:19:46,275 which is being modeled and receives a form through art. 205 00:19:48,600 --> 00:19:50,400 The technical spirit of the epoch. 206 00:19:50,800 --> 00:19:53,675 Technique consumes and is being consumed. 207 00:19:53,975 --> 00:19:56,550 Art is eternity. 208 00:19:57,125 --> 00:19:58,325 The great parallel. 209 00:19:58,725 --> 00:20:01,700 The subordination of natural forms through art. 210 00:20:01,700 --> 00:20:05,075 The oppression of natural forces through technique. 211 00:20:05,300 --> 00:20:09,125 The artistic form of our epoch presents itself in the nude, 212 00:20:09,125 --> 00:20:10,725 without any solemn ornaments. 213 00:20:10,975 --> 00:20:14,850 It is the bearer of truth and purity.  214 00:20:29,225 --> 00:20:32,550 The future, the future, the future. 215 00:20:32,850 --> 00:20:34,425 Don't ask Picasso. 216 00:20:34,425 --> 00:20:35,850 Don't ask us. 217 00:20:35,850 --> 00:20:37,550 Don't ask anybody. 218 00:20:37,750 --> 00:20:43,075 Now and then Picasso plays tricks, sensual nervous relaxation. 219 00:20:43,225 --> 00:20:46,950 Wait. Work. Wait. 220 00:20:47,525 --> 00:20:51,000 The age is looking for a style in all fields. 221 00:20:51,200 --> 00:20:54,325 We wait, we work, we transform.  222 00:21:34,875 --> 00:21:39,850 I stand in my apparent disorder, observing the laws of imagination. 223 00:21:41,075 --> 00:21:43,350 My forms melt together. 224 00:21:43,900 --> 00:21:47,450 The mating of woman and bird. 225 00:21:48,050 --> 00:21:54,675 I burst and I keep inside a mental space unknown, for it has been before me. 226 00:21:56,275 --> 00:22:04,225 In my two dimensions, I can stretch myself to live beyond every dimension. 227 00:23:38,775 --> 00:23:40,150 I would rather take death. 228 00:23:40,775 --> 00:23:46,925 A thousand times death than the inexact pleasure caused by the light of day at the way out of the mine. 229 00:23:47,200 --> 00:23:52,250 Then the crippled joy of moving outdoors after a long illness. 230 00:23:53,075 --> 00:23:54,150 Then the first ball. 231 00:23:54,525 --> 00:23:55,900 The first pair of long trousers. 232 00:23:56,300 --> 00:23:57,400 The first cigarette. 233 00:23:57,900 --> 00:23:59,300 The first journey. 234 00:23:59,700 --> 00:24:02,050 Our first biographic romance. 235 00:24:02,600 --> 00:24:07,400 All these apparent pleasures are caused by the historic accident of a frustration 236 00:24:07,650 --> 00:24:10,350 and by the error of a temporar monotony. 237 00:24:10,600 --> 00:24:15,175 All these delights of the tired lying on a bed, on any bed. 238 00:24:15,475 --> 00:24:20,625 All these orgies of the miserable that is given food, any food. 239 00:24:20,925 --> 00:24:25,575 All these unjustified these proportions in the effective economy 240 00:24:25,575 --> 00:24:31,125 of the oppressed abstract the real manifestation of pleasure 241 00:24:31,375 --> 00:24:37,800 and strangle inside a perpetual claim, the constant, surpassing of necessity.  242 00:25:24,125 --> 00:25:30,375 The convolution of beauty, the fragility of memory, the color of regret, 243 00:25:30,600 --> 00:25:34,400 the graciousness of life, the mediumnity of the gesture, 244 00:25:34,825 --> 00:25:40,600 the rarity of love, the madness of the senses, the beauty of madness, 245 00:25:40,600 --> 00:25:46,625 the sadness of the lakes, the moon's influence, life after death, 246 00:25:46,975 --> 00:25:52,625 the nobility of orgies, the heat of a look, the memory of madness, 247 00:25:53,025 --> 00:25:59,550 the future of the past, the somnambulism of reason, the death of landscape. 248 00:25:59,850 --> 00:26:01,600 Action in the distance. 249 00:26:01,725 --> 00:26:03,050 The sleepy sleep. 250 00:26:03,400 --> 00:26:04,750 The lived dream. 251 00:26:05,000 --> 00:26:07,000 The pride of sacrilege. 252 00:26:07,225 --> 00:26:09,025 The orgy of hysteria. 253 00:26:09,175 --> 00:26:11,025 The refusal to live. 254 00:26:11,200 --> 00:26:13,100 The exhibition of being alive. 255 00:26:13,325 --> 00:26:15,300 The beauty of hysteria. 256 00:26:15,400 --> 00:26:17,900 The beauty of the beauty. 257 00:26:18,175 --> 00:26:20,075 In Malombra!