A series of fragments, a cinepoem with a certain optical sequence make up a whole that still remains a fragment. Just as one can much better appreciate the abstract beauty in a fragment of a classic work than in its entirety, so this film tries to indicate the essentials in contemporary cinematography. It is not an “abstract” film nor a story-teller; its reasons for being are its inventions of light-forms and movements, while the more objective parts interrupt the monotony of abstract inventions or serve as punctuation. Anyone who can sit through an hour's projection of a film in which sixty per cent of the action passes in and out of doorways and in inaudible conversations, is asked to give twenty minutes of attention to a more or less logical sequence of ideas without any pretention(不知道是不是写错了，pretension?) of revolutionizing the film industry. To those who would still question “the reason for this extravagance”, one can simply reply by translating the title Emak Bakia, an old Basque expression which means “don't bother me.一系列片段，一个具有特定光学序列的电影诗歌，构成了一个仍然是片段的整体。正如人们可以更好地欣赏经典作品片段中的抽象美，而不是整体，所以这部电影试图在当代电影摄影中表明这点。它不是一部“抽象”的电影，也不是故事讲述者，其存在的理由是它的光形式和运动的发明，而更客观的部分是中断抽象语言的单调或仅作为符号。任何可以观看一小时的电影投影的人，其中百分之六十的动作进出门口和听不到的对话，被要求给予二十分钟关注一个有着或多或少逻辑顺序的想法但没有任何革新电影业骄傲的短片。对那些仍然质疑“这种放肆的原因”的人，可以简单地通过翻译标题Emak Bakia来回复，这是一个古老的巴斯克语表达，意思是“不要打扰我。Man Ray，“Emak Bakia,” Close Up1, no.2 (August 1927):40