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Books on the topic 'Surrealist film'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Marvelous encounters: Surrealist responses to film, art, poetry, and architecture. Bucknell University Press, 2005.

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2

Linda, Williams. Figures of desire: A theory and analysis of surrealist film. University of California Press, 1992.

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3

Gascgoyne, David. Procession to the private sector: A surrealist film scenario by David Gascoyne. BBC Radio 3, 1998.

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4

Surrealism and film. University of Michigan Press, 1992.

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5

Printing, London College of. BA Film and Video thesis 1988: Surrealism. LCP, 1988.

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6

Surrealism in film: Beyond the realist sensibility. Transaction Publishers, 2011.

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7

Alltags-Surrealismus: Literatur, Theater, Film. Et+k, edition text + kritik, 2012.

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8

Watkins, Raymond. Late Bresson and the Visual Arts. Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983649.

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The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema. This study presents a revised and revitalized Bresson, comparing his late style to painterly innovations in color, light, and iconography from the Middle Ages to the present, to abstract painting in France after World War II, and to affinities with the avant-garde movements of Surrealism, Constructivism, and Minimalism. Drawing on media archeology, this study views Bresson's w

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9

Cinema surrealista fra poesia e immagine. Aracne, 2007.

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10

Schneede, Uwe M. Die Kunst des Surrealismus: Malerei, Skulptur, Dichtung, Fotografie, Film. C.H. Beck, 2006.

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11

Valkola, Jarmo. Perceiving the visual in cinema: Semantic approaches to film form and meaning. Jyväskylän Yliopisto, 1993.

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12

Hitchcock e il surrealismo: Il filo inesplorato che lega il maestro del cinema all'arte del Novecento. L'epos, 2005.

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13

Arta ud: The screaming body ; [Antonin Artaud: film projects, drawings & sound recordings]. Creation, 2004.

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14

Artaud: Blows and bombs. Creation Books, 2003.

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15

Artaud: The screaming body. Creation Books, 1999.

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16

Magi i radikaly: Vek amerikanskogo avangarda. Novoe literaturnoe obozrenie, 2011.

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17

E, Kuenzli Rudolf, ed. Dada and surrealist film. The MIT Press, 1996.

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18

E, Kuenzli Rudolf, ed. Dada and surrealist film. Willis, Locker & Owens, 1987.

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19

Williams, Linda. Figures of Desire: A Theory and Analysis of Surrealist Film. University of Illinois Press, 1985.

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20

Rogers, Holly. Audiovisual Dissonance in Found-Footage Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0010.

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Drawing on ideas of the Surrealist automatic and filmic détournement, artists working with found footage are able to construct new meanings and aesthetics by deconstructing completed audiovisual texts. When original music is retained, or replaced by a new sonic collage, the disjointed sonic flow problematises and enhances the collage aesthetic by extending the possibilities for juxtaposition not only in a linear fashion, but also in a vertical, audiovisual direction, a process that highlights the materiality and artifice of the new combination of images. Here, pre-used footage can be collaged

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21

Petersen, Christina. “The Most Assassinated Woman in the World”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037689.003.0005.

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This chapter examines the evocation of Pearl White's star persona by avant-garde theorists and filmmakers ranging from Sergei Eisenstein to surrealist Robert Desnos. The avant-garde's reactions to White fall largely along movement lines. At once the embodiment of a low-culture narrative mode and a spectacular star object who transcended any particular plot line, White's pejorative status as “the most assassinated woman in the world” may have been more revealing than Jean Epstein originally intended. Whereas Epstein decried White's constant near-death experiences and numerous last-minute escape

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22

1948-, Company-Ramón Juan Miguel, ed. Surrealistas, surrealismo y cinema: Curs. Fundació Caixa de Pension, 1991.

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23

Williams, Tami. Dulac’s Aesthetic Matures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0004.

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This chapter illustrates Dulac's gradual shift from scenic naturalism and pictorial symbolism to the use of film-specific technical effects, and a choreography and montage-based notion of “rhythm within and between the images” in her feminist classic La Souriante Madame Beudet (1923), her subversive short L'Invitation au voyage (1927), and in a new restoration of her first surrealist film La Coquille et le clergyman (1927). The chapter also analyzes Dulac's lesser known La Folie des vaillants (1925), which among her narrative films comes closest to fulfilling her ideals of a “visual symphony”

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24

Surrealism in Film. Routledge, 2017. http://dx.doi.org/10.4324/9781315130484.

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25

Weinel, Jonathan. Synaesthetic Overdrive. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0007.

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This chapter discusses altered states of consciousness in audio-visual media, such as films, psychedelic light shows, and VJ performances. First, some background theory is introduced, explaining the main categories of film sound, and what research tells us regarding the way in which sound influences the perception of visual images and vice versa. Following this background section, a tour is provided through various films that represent altered states of consciousness, including surrealist movies, ‘trance films’, and Hollywood feature films. These demonstrate a progression, where more recent mo

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26

Lewis, Hannah. Surrealist Sounds. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0003.

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This chapter focuses on the controversial early sound films directed by avant-garde filmmakers Jean Cocteau and Luis Buñuel: Le Sang d’un poète (1930) by Cocteau and L’Age d’or (1930) by Buñuel. They were the first surrealist sound films, and both filmmakers used music to create strange audiovisual juxtapositions and to shock their audiences. Although music’s role in the surrealist movement was contested, Lewis demonstrates through her analysis of these two films that music was crucial for a surrealist audiovisual cinematic conception. While experiments this audacious were short-lived, these t

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27

Noheden, Kristoffer, and Abigail Susik, eds. Surrealism and film after 1945. Manchester University Press, 2021. http://dx.doi.org/10.7765/9781526150011.

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28

Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.

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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new t

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29

(Editor), Graeme Harper, and Rob Stone (Editor), eds. The Unsilvered Screen: Surrealism on Film. Wallflower Press, 2006.

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30

Graeme, Harper, and Stone Rob 1965-, eds. The unsilvered screen: Surrealism on film. Wallflower, 2007.

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31

(Editor), Graeme Harper, and Rob Stone (Editor), eds. The Unsilvered Screen: Surrealism on Film. Wallflower Press, 2006.

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32

Earle, William. Surrealism in Film: Beyond the Realist Sensibility. Taylor & Francis Group, 2017.

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33

Richardson, John. The Neosurrealist Musical and Tsai Ming-Liang’s the Wayward Cloud. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0034.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter theorizes an important new development in auteur cinema, the neosurrealist metamusical, through Jan Assman’s idea of “figures of memory,” which are aspects of cultural memory that are differentiated from everyday experiences by their ritualized and temporally displaced nature. Musical numbers in this view become figures of memory that highlight reflectivity. Tsai Ming-Liang’sThe Wayward Cloud (Tian bian yi duo yun, 2005) is a classic example of a

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34

Studying Surrealist and Fantasy Cinema. Auteur Publishing, 2007.

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35

Studying Surrealist And Fantasy Cinema. Auteur, 2008.

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36

Tweedie, James. The Afterlife of Art and Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0006.

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Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse

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37

Quentin, Bajac, Chéroux Clément, Centre Georges Pompidou, Fotomuseum Winterthur, and Fundación Mapfre. Instituto de Cultura., eds. La subversion des images: Surréalisme, photographie, film. Centre Pompidou, 2009.

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38

Marsh, Leslie L. Contesting the Boundaries of Belonging in the Films of Ana Carolina Teixeira Soares. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0003.

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This chapter focuses on Ana Carolina's Mar de Rosas (Sea of Roses, 1977), Das Tripas Coração (Heart and Guts, 1982), and Sonho de Valsa (Dream Waltz, 1987). At a time when it was untenable to express her feminist views by way of a realist register, all three films develop a surrealist mode of expression. Indeed, Carolina's films adapt a surrealist mode of representation to critique repressive ideological constructions of femininity and seek the emancipation of the female psyche. Ultimately, her trilogy critiques those institutions and established beliefs through which presumably good, moral ci

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39

Block, Marcelline, and Jennifer Kirby, eds. ReFocus: The Films of Michel Gondry. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.001.0001.

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The acclaimed French auteur behind the mind-bending modern classic Eternal Sunshine of the Spotless Mind (2004), for which he won an Academy Award for Best Original Screenplay, Michel Gondry has directed innovative, ground-breaking films and documentaries, episodes of the acclaimed television show Kidding and some of the most influential music videos in the history of the medium. In this book, a range of international scholars offers a comprehensive study of this significant and influential figure, covering his French and English-language films and videos, and framing Gondry as a transnational

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40

Perry, Dennis. The Recombinant Mystery of Frankenstein. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.8.

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Mary Shelley’s Frankenstein, itself adapted from several sources, has triggered a never-ending series of film adaptations, each exploring the meaning of human life through the evolving landscapes of cultural and technological development. Adapted in James Whale’s Frankenstein as a figure of both horror and deep pathos, the monster and his creator have played a pivotal role in the development of the cinema of gothic horror, borrowing along the way from a wide array of genres as different as surrealism, slapstick comedy, and the Western. This basic story of human fears and desires has become the

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41

Rascaroli, Laura. Genre. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0004.

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The taxonomic difficulties generated by the essay film are rooted in its in-between positioning vis-à-vis genres, which facilitates the subversion of their conventions and the uncovering of their ideological underpinnings. The chapter works through these ideas by engaging with a particular type of essayistic ethnofiction, as represented by Luis Buñuel’s Las Hurdes (Land without Bread, 1933), Werner Herzog’s Fata Morgana (1971), and Ben Rivers’s Slow Action (2011). Located somewhere between documentary and fiction, surrealism and ethnography, science fiction and anthropology, these texts create

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42

Stevenson, Jane. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0001.

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This introduction makes the case for ‘modern baroque’, arguing that ‘modernism’ is, in effect, a modern version of classicism, analytic and theory-led. It argues that despite the modernists’ attempts to control and define ‘culture’, the overall context of the interwar period is one in which black, female, working-class and/or homosexual people acquired the ability to generate their own strands within the culture, due to the proliferation of media able to cater for plural audiences (books, but also film, radio, and live performance). Modernism thus existed in dialectic with a modern baroque, bu

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43

W, Thompson C., and French Institute (London England), eds. L' autre et le sacré: Surréalisme, cinéma, ethnologie. L'Harmattan, 1995.

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44

Curti, Roberto. Blood and Black Lace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325932.001.0001.

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Mario Bava's Blood and Black Lace (1964) is a legendary title, and is commonly considered as the archetypal giallo. A murder mystery about a faceless and menacing killer stalking the premises of a luxurious fashion house in Rome, Blood and Black Lace set the rules for the genre: a masked, black-gloved killer, an emphasis on graphic violence, elaborate and suspenseful murder sequences. But Blood and Black Lace is first and foremost an exquisitely stylish film, full of gorgeous color schemes, elegant camerawork, and surrealistic imagery, testimony of Bava's mastery and his status as an innovator

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45

Barber, Stephen. Artaud: The Screaming Body. Creation Books, 2000.

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46

Barber, Stephen, and Antonin Artaud. Artaud: The Screaming Body. Creation Books, 2005.

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