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This study considers dadaist and surrealist periodicals to show how they form a displaced, durational medium: handheld cinema. Handheld cinema doubly enhances our understanding of avant-garde efforts to democratize modernism as certain periodicals equalize art-making materials on the printed page and depend upon the mass media of print and film for their reception. This text thus traces a Euro-American network that speaks to the prevalence of radical re-mediation in an era that art historians most often associate with endeavors toward aesthetic purification. The project’s three thematic chapters progress chronologically, from international dadaist periodicals printed during the waning years of World War I and its aftermath to the surrealist journals of interwar Paris and exiled artists during World War II. Whether the journals present mélanges of typographic experimentation and photomechanical reproduction as in Tristan Tzara’s Dada, subjects magnified to the point of obscurity as discussed in La Révolution Surréaliste and Documents, or pages that prescribe their own physical maneuvering through movable graphics as in VVV, all attest to handheld cinema’s crucial role in avant-garde attempts to apply aesthetic programs to broader mediated environments.