A modernist approach to film and production; Surrealist cinema is often characterised by juxtapositions and frequent use of shocking imagery, it often rejects dramatic psychology. Surrealist works are often not characterised by a particular style or form therefore most surrealist artists explore conjunctions, points of contact between different realms of existence - Surrealism therefore explores a "departure rather than an arrival". Richardson defines surrealism as "a shifting point of magnetism around which the collective activity of the surrealists revolves." The subconscious mind is a heavy factor that influences Surrealist works, most surrealists promote themselves as revolutionaries and shouldn't be mistaken for being irrational incapable of logical thought. Surrealism is an ever shifting art form.
SURREALIST FILMS/ FILM-MAKERS
Un Chien Andalou - Salvador Dali and Luis Buñuel (1929)
The 16 minute long silent film is in black and white - with no actual conventional plot, disjointed chronology shows the opening 'ONCE UPON A TIME' and a jump to 'EIGHT YEARS LATER'; the characters and events do not seem to have changed. Freudian free association is used as dream logic is depicted in the short film; with a serious of tenuously related scenes. It has been implied that this film has inspired many independent artists to create low budget features; the opening scene ranked as 10th out of 'The 25 most shocking movie moments in history'.
The Seashell and the Clergyman - Germaine Dulac (original scenario by Antonin Artaud) (1928)
The experimental French film portrays the erotic hallucinations of a priest who lusts after as general's wife - the ironic techniques of surrealist cinema are suggested to be borrowed from this film. Lee Jamieson analysises the film:
"The Seashell and the Clergyman penetrates the skin of material reality and plunges the viewer into an unstable landscape where the image cannot be trusted. Remarkably, Artaud not only subverts the physical, surface image, but also its interconnection with other images. The result is a complex, multi-layered film, so semiotically unstable that images dissolve into one another both visually and ‘semantically’, truly investing in film’s ability to act upon the subconscious."
L'age D'or - Luis Buñuel (screenplay by Salvador Dali) (1930)
Another Buñuel surrealist feature - L'age d'Or (translates to the Golden Age) is a comedy about the insanities of modern life and the hypocrisy of sexual mores of bourgeois society - and the value system of the Roman Catholic church. There are thematically-linked presented scenes where a couple attempt to fulfil sexual desires yet are continuously confronted by values of Church, family etc. There is a reference to Marquis de Sade's novel 120 Days of Sodom; where surviving organists are prepared to emerge to the light of mainstream society. This was the second artist collaboration between Buñuel and Dali - Buñuel overcame his ignorant cinematic technique in production by filming most of the screenplay (written by Dali). The film caused political upheaval by the right-wing League of Patriots, angry viewers were offended by the feature. Violence is said to have been bred by film critique Robert Short due to the implications of social and psychological repression of the libido in a bourgeois society.
L'Étoile de mer - Man Ray (1928)
The film; which translates to 'The sea star' is based on Robert Desno's script, featuring a couple acting through various scenes, shot out of focus - such as through diffused or textured glass. Short scenes such as the female actress adjusting a stocking or a man purchasing a sea star in a are shown - there is no clear plot which depicts the epitome of surrealism. This is a silent film; yet recent copies have been dubbed using Man Ray's personal records from his collection.
Entr'acte - Rene Clair (1924)
The french film premiered as an enteracte for a ballet production in Paris - Relâche at the Théâtre des Champs-Élysées. Influenced by Dadaists who contributed to the project, the film explores techniques such as people running in slow motion or reversed actions and vanishing actors.
The Seashell and the Clergyman - Germaine Dulac (original scenario by Antonin Artaud) (1928)
The experimental French film portrays the erotic hallucinations of a priest who lusts after as general's wife - the ironic techniques of surrealist cinema are suggested to be borrowed from this film. Lee Jamieson analysises the film:
"The Seashell and the Clergyman penetrates the skin of material reality and plunges the viewer into an unstable landscape where the image cannot be trusted. Remarkably, Artaud not only subverts the physical, surface image, but also its interconnection with other images. The result is a complex, multi-layered film, so semiotically unstable that images dissolve into one another both visually and ‘semantically’, truly investing in film’s ability to act upon the subconscious."
L'age D'or - Luis Buñuel (screenplay by Salvador Dali) (1930)
L'Étoile de mer - Man Ray (1928)
The film; which translates to 'The sea star' is based on Robert Desno's script, featuring a couple acting through various scenes, shot out of focus - such as through diffused or textured glass. Short scenes such as the female actress adjusting a stocking or a man purchasing a sea star in a are shown - there is no clear plot which depicts the epitome of surrealism. This is a silent film; yet recent copies have been dubbed using Man Ray's personal records from his collection.
Entr'acte - Rene Clair (1924)
The french film premiered as an enteracte for a ballet production in Paris - Relâche at the Théâtre des Champs-Élysées. Influenced by Dadaists who contributed to the project, the film explores techniques such as people running in slow motion or reversed actions and vanishing actors.
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