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2 2006

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Dreams That Money Can Buy

100%

Gizycki M.

Kwartalnik Filmowy

2006

nr 54-55

344-350

The author writes about the little-known film 'Dreams That Money Can Buy', made by Dadaist Hans Richter in the United States in 1944-1946. This experimental exercise, considered Richter's most important American film, combined six scenarios written - besides Richter - by Max Ernst, Fernand Léger, Man Ray, Marcel Duchamp and Alexander Calder. He presents a profile of Richter, his relationships with Expressionists and Futurists and the circumstances behind the making of the film, loaded with absurd humour. He also describes the film's segments, pointing to numerous inspirations of Richter's collaborators (Léger's 'Mechanical Ballet', Duchamp's 'Nude Descending a Staircase' and Ernst's collages). He also remarks that the framing device of the sequences is a parody of film noir. According to the author, although the names of great artists were listed in the opening credits, the film had never been distributed or researched because it wasn't made at the right time - in the second half of the 1940s Surrealism was already a thing of the past. Today, the film may be interpreted as a kind of a documentary record of actions of the great artists or a little patinated and charming experiment.

WAGNER - RICHTER - BATKA: K IDENTIFIKÁCII ADRESÁTA JEDNÉHO LISTU

44%

Lengová J.

Musicologica Slovaca et Europaea

2006

tom 23

164-192

Two letters written by Richard Wagner in connection with Bratislava are known in Slovak music historiography. The first one is from the 29th August 1871 (Tribschen), which has remained as a well-preserved copy. It was addressed to the Bratislava archivist, Johann (Jan, Janos) Batka (1845-1917), that was active as a musical critic and organiser. The supposed recipient of the second Wagner's letter dated on 30th September 1871 in Luzern was considered to be the Bratislava lawyer and music lover Karol Junerak junior (1822-1911). The object of the study is to identify the true recipient of the second Wagner's letter and to point out the assumptions of Wagner's reception in Bratislava within the years 1858-1913. On the base of the consequent source comparison, it can be pointed out, that Johann Batka was also the recipient of the second Wagner's letter. He also contributed to the reception of Wagner's music in Bratislava in a great deal.