The film Entr'acte, directed by Rene Clair in 1924, in many ways illustrates an important goal of the Dada movement. The second half of the film which involves a bourgeoisie funeral procession specifically depicts what the artists of the Dada movement were after. I suggest that the funeral procession scene, by it's use of several camera techniques, draws the viewer into the frenzy of the film, a goal that the Dada artists were after.
             The whole funeral procession scene is a chase that Rene Clair intends to make the audience a part of. Several camera techniques are employed to create a dizzying, frenzied affect on the viewer. Close-up shots of the spinning wheels of the hearse, often followed by shots of the mourner's pumping legs, bring the viewer up close to the chase. Several camera technique are often layered. Examples of this are cars superimposed over the chase scene, at a sped up rate or superimposition of the rapid tracking of some generic scenery. Towards the end of the film, several fragmented scenes are shot in succession, rapidly from one to the next. Another effect used to draw the viewer into the excitement is the rollercoaster. The footage of the rollercoaster was inserted for seconds at a time in the middle of the chase scene. Clair himself, noting the audience at the first showing of Entr'acte, said, "...the whole theatre felt itself swept away on the Luna Park scenic railway [the rollercoaste!
             r] , howls brought the disorder...to their climax" (Clair, 111). It seems that it would be difficult to not get caught up in the action of the film because of the dizzying amount of camera techniques and fast paced changing from shot to shot. Celia McGerr noted in her biography of Rene Clair that, "The sequence leaves one almost breathless..." (McGerr, 40).
             Tristan Tzara, in an attempt to name what Dadaism is says, "Every page must explode, either by profound heav
             ...