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Journal articles on the topic 'Surrealist film'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Pikkov, Ülo. "Surrealist Sources of Eastern European Animation Film." Baltic Screen Media Review 1, no. 1 (2013): 28–43. http://dx.doi.org/10.1515/bsmr-2015-0003.

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Abstract This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film

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2

Huo, Dan, and Fan Yang. "Application of Western Surrealistic in Design of Landscape Architecture." Applied Mechanics and Materials 226-228 (November 2012): 2394–97. http://dx.doi.org/10.4028/www.scientific.net/amm.226-228.2394.

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Surrealism was the twentieth century’s longest lasting art movement in the arts. It explored the mysterious dream world of the unconscious mind. Surrealist works depict a familiar yet alien world of dreamlike serenity and nightmarish fantasy, and their legacy pervades much of contemporary art, literature, film and popular culture. As a representation of irrational aesthetics in the modern art trends, it is worthwhile to study the influence and construction of Surrealism in modern landscape architecture. This paper explores the modern landscape form under the influence of Surrealism Art by anal

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Fisher, Dominique, and Rudolph E. Kuenzli. "Dada and Surrealist Film." MLN 103, no. 4 (1988): 943. http://dx.doi.org/10.2307/2905034.

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Vilslev, Birgitte Thorsen. "Spiste horisonter og Tre piger og en gris." K&K - Kultur og Klasse 47, no. 127 (2019): 173–94. http://dx.doi.org/10.7146/kok.v47i127.114749.

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This article compares the sexual differences in two Danish avant-garde films. It suggests that the Danish feminist, collective film Three Girls and a Pig from 1971 with an actual castration of a young pig established a deconstruction of a phallic economy in line with the theory of the French feminist linguist Luce Irigaray. In comparison with the artist Wilhelm Freddie’s and filmmaker Jørgen Roos’ surrealist film, Eaten Horizons from 1950, this deconstruction may contribute to a feminist reinterpretation of the latter’s sadist and cannibalistic fetichization of the female body. Furthermore, th

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Horton, Andrew. ": Dada and Surrealist Film . Rudolf E. Kuenzli." Film Quarterly 43, no. 3 (1990): 61–62. http://dx.doi.org/10.1525/fq.1990.43.3.04a00190.

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6

Gaycken, Oliver. "‘Beauty of Chance’: Film ist." Journal of Visual Culture 11, no. 3 (2012): 307–27. http://dx.doi.org/10.1177/1470412912455618.

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A lesser-known aspect of André Bazin’s film criticism is his love of science films. Bazin’s key reflection in this regard, ‘Le film scientifique: beauté du hasard’, argues that the science film is not just another kind of filmmaking; rather, placed under the scrutiny of Bazin’s cinephilic, Surrealist gaze, the science film is revealed as the repository of true cinematic beauty. A similar approach to the science film is evident in contemporary avant-garde practice. Gustav Deutsch’s Film ist. 1–6 (1998), the first part of an ongoing compilation project, reveals an affinity with Bazin’s appreciat

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Markova, Lora, and Roger Shannon. "Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist’s Creative Practice and the Medium of Film." Arts 8, no. 1 (2019): 11. http://dx.doi.org/10.3390/arts8010011.

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This article explores the under-researched intertextual and intermedial connections between Leonora Carrington’s transdisciplinary practice and the medium of film. The analysis focuses on the artist’s cameo appearances in two 1960s Mexican productions—There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ibáñez 1965)—which mark her creative collaborations with Surrealist filmmaker Luis Buñuel and Magic Realists Gabriel García Márquez and Carlos Fuentes. Carrington’s cameo roles are analyzed within a network of intertextual translations between her visual and literary

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Ruoff, Jeffrey. "An Ethnographic Surrealist Film: Luisbunuel's land Without Bread." Visual Anthropology Review 14, no. 1 (1998): 45–57. http://dx.doi.org/10.1525/var.1998.14.1.45.

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9

Everett, W. "Screen as threshold: the disorientating topographies of surrealist film." Screen 39, no. 2 (1998): 141–52. http://dx.doi.org/10.1093/screen/39.2.141.

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10

Horton, Andrew. "Review: Dada and Surrealist Film by Rudolf E. Kuenzli." Film Quarterly 43, no. 3 (1990): 61–62. http://dx.doi.org/10.2307/1212648.

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11

Knapp, Bettina L. "Dada and Surrealist Film ed. by Rudolf E. Kuenzli." L'Esprit Créateur 30, no. 2 (1990): 111–12. http://dx.doi.org/10.1353/esp.1990.0005.

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12

Miller, Michael T., and James Batcho. "Allowing the Fly to Leave: The Chance Meeting of Wittgenstein and Buñuel at a Mexican Dinner Table." Film-Philosophy 22, no. 3 (2018): 384–405. http://dx.doi.org/10.3366/film.2018.0086.

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Within Luis Buñuel's classic surrealist film The Exterminating Angel (El ángel exterminador, 1962) is a philosophical motif which expresses, demonstrates, and develops two of Ludwig Wittgenstein's central concepts: (1) language lays traps for the unwary that can lead to illogical thought and mind-bending quests; and (2) any picture of the world (Weltbild) is formed through cultural habits that cannot be rationally expressed but can be changed. This article argues that what we find in Buñuel's Angel is a “picture” that is at one level rational and habitual and at another entirely absurd. These

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13

Ripley, Marc. "‘Are We Coming to Make a Documentary or a Surrealist Film?’." European Comic Art 10, no. 1 (2017): 110–25. http://dx.doi.org/10.3167/eca.2017.100109.

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In 1933 Luis Buñuel shot Tierra sin pan [Land without bread] in the Las Hurdes region of Spain. His ethnographic documentary about this impoverished community is a relentless onslaught of decay and death, and still retains the power to shock. Fermín Solís’s 2008 graphic novel Buñuel en el laberinto de las tortugas [Buñuel in the labyrinth of tortoises] narrates the filming process of this movie. Solís renders the despair underpinning Buñuel’s film ironically, showing this to be in part a result of Buñuel’s doctoring of reality, thus achieving a demythification of this canonical film and questi

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Solomon, William. "Slapstick Modernism: Charley Bowers and Industrial Modernity." Modernist Cultures 2, no. 2 (2006): 170–88. http://dx.doi.org/10.3366/e2041102209000264.

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William Solomon (SUNY-Buffalo) asks us how vernacular and avant-garde comic practice might function as twinned responses to standardised mass-production and the rationalisation of the workplace. Returning us to the recently rediscovered comic films of Charley Bowers - a pioneer of animated silent film and a proto-surrealist bricoleur lionised by André Breton, Solomon demonstrates how Bowers' absurd machinic assemblages “generate laughter at the expense of the ethos of productive rationalism, in the process of opening up an alternative understanding of machinery as the locus of exuberantly unse

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Cahill, James Leo. "Forgetting Lessons: Jean Painlevé’s Cinematic Gay Science." Journal of Visual Culture 11, no. 3 (2012): 258–87. http://dx.doi.org/10.1177/1470412912455616.

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The French scientific and documentary filmmaker and para-Surrealist Jean Painlevé (1902−1989) established his reputation as the author of over 200 films, as well as an accomplished film programmer and activist. During the 1930s he made a series of critically ambivalent remarks about the pedagogical vocation of documentary films, describing film’s primary function in the classroom as causing spectators to ‘forget’ or ‘unlearn’ their lessons and expressing the desire to contribute to the total abolition of secondary education. Reflecting upon the relationship between Painlevé’s often overlooked

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Willemsen, Steven, and Miklós Kiss. "Last Year at Mulholland Drive: Ambiguous Framings and Framing Ambiguities." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (2019): 129–52. http://dx.doi.org/10.2478/ausfm-2019-0007.

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Abstract This article proposes a cognitive-narratological perspective on David Lynch’s Mulholland Drive (2001) and the numerous contrasting interpretations that this film has generated. Rather than offering an(other) interpretation of the film, we aim to investigate some of the reasons why Lynch’s highly complex narrative has gained a cult – if not classic – status in recent film history. To explain the striking variety of (often conflicting) interpretations and responses that the film has evoked, we analyse its complex narrative in terms of its cognitive effects. Our hypothesis is that part o

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Ostrowska, Elżbieta. "“Exquisite cadaver” according to Stanisław Lem and Andrzej Wajda." Open Cultural Studies 2, no. 1 (2018): 103–13. http://dx.doi.org/10.1515/culture-2018-0010.

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Abstract The article examines Andrzej Wajda’s Roly Poly (Przekładaniec, 1968), a 35-minute film made for Polish public television, that is an expanded version of Stanisław Lem’s short grotesque play Do You Exist Mister Johns? (Czy Pan istnieje Panie Johns?) published in 1955. Roly Poly tells a story of a car race driver, Ryszard Fox. A victim of several car crashes, he gets so many transplants from other victims of these collisions, with his brother being a first donor, that eventually he becomes a mix of different organisms, including female and animal parts. Wajda presents the whole story in

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Jardine, Boris. "Mass-Observation, surrealist sociology, and the bathos of paperwork." History of the Human Sciences 31, no. 5 (2018): 52–79. http://dx.doi.org/10.1177/0952695118818990.

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British social survey movement ‘Mass-Observation’ (M-O) was founded in 1937 by a poet, a film-maker and an ornithologist. It purported to offer a new kind of sociology – one informed by surrealism and working with a ‘mass’ of Observers recording day-to-day interactions. Various commentators have debated the importance and precise identity of M-O in its first phase, especially in light of its combination of social science and surrealism. This article draws on new archival research, in particular into the ‘paperwork’ practices of Charles Madge, arguing that M-O is best understood as an attempt t

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Pieldner, Judit. "Representations of Female Alterity in Contemporary Hungarian and Romanian." Acta Universitatis Sapientiae, Philologica 5, no. 1 (2013): 95–110. http://dx.doi.org/10.2478/ausp-2014-0008.

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Abstract The present study carries out a comparative/contrastive analysis of two ways of contemporary Hungarian and Romanian film discourse, namely magic realism and micro-realism, and will focus on the representation of the woman in the contemporary films entitled Witch Circle (Dezső Zsigmond, 2009),exploring a subversive female mythologem of a confined traditional community, that of the Csángó people, Bibliothéque Pascal (Szabolcs Hajdú, 2010),which creates a private mythology, materialised in form of surrealist images, of the female self interpreting herself out of her conditions, and Beyon

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Wang, Chialan Sharon. "Border-crossing and the narrative of the minor: Midi Z’s The Road to Mandalay." Asian Cinema 32, no. 1 (2021): 19–35. http://dx.doi.org/10.1386/ac_00031_1.

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This article studies Midi Z’s The Road to Mandalay (2016) as a cinematic representation of Deleuze’s ‘minor literature’. I argue that the film gives rise to collective utterances against social and economic hegemony, particularly in its portrayal of Burmese immigrant characters who, as Agamben’s ‘bare life’, are subject to the violence underlying the biopower of neo-liberalism. A diasporic Burmese Chinese, Midi Z adopts the convention of cinema verité and fictionalizes the social reality of the migrant Burmese community. The Road to Mandalay articulates the pathos of those who are deprived of

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Clarke, Alissa. "“Am I Providing a Good Show for You?”." Feminist Media Histories 5, no. 2 (2019): 148–80. http://dx.doi.org/10.1525/fmh.2019.5.2.148.

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The underground film Daddy (1973), a collaboration by French artist Niki de Saint Phalle and British countercultural filmmaker Peter Whitehead, is a sexually explicit surrealist pop-art Freudian rape revenge fantasy. It stems from de Saint Phalle's autobiographical narrative of parental abuse and the development of a young girl's sexuality. Deploying a performance studies lens to focus on performance practice and process, this article takes a new methodological approach to the film that could be applied to other avant-garde cinematic practices. Drawing on previously unseen materials and examin

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22

Powrie, P. "Masculinity in the shadow of the slashed eye: surrealist film criticism at the crossroads." Screen 39, no. 2 (1998): 153–63. http://dx.doi.org/10.1093/screen/39.2.153.

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Otero Luque, Frank. ""De pobre huerfanita a viuda negra": la agencia de la mujer en las Tristanas de Pérez Galdós y Buñuel." Studium, no. 23 (August 12, 2018): 227–43. http://dx.doi.org/10.26754/ojs_studium/stud.2017232609.

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Las diferencias más obvias entre la novela de Pérez Galdós y el filme de Buñuel son el lugar el tiempo en que están ambientadas las obras: en Madrid alrededor de 1880, y en Toledo por el año de 1929. No tan obvio es el hecho de que sus respectivos autores pertenecen a generaciones diferentes: el primero, a la llamada Generación de 1868; y el segundo a la Generación de 1927. Por tal motivo Galdós y Buñuel tienen ópticas distintas acerca de la mujer y de la causa feminista (avant la lettre en el caso del primero). Más aún, mientras que el escritor isleño era un cultor del realismo literario, def

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Howorus-Czajka, Magdalena. "Lęk i czerwona kotara. Prestiż a twórczość nie-filmowa Davida Lyncha." Panoptikum, no. 19 (June 30, 2018): 176–84. http://dx.doi.org/10.26881/pan.2018.19.12.

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Inspired by David Lynch’s works of visual art, this paper is an attempt to identify some extra-artistic mechanisms (the art market) relating to artworks. As a result, his non-cinematic works have been analysed here in the context of the mechanisms operating in culture, as indicated by Mieke Bal (“cultural imperialism”) and James F. English (“economy of prestige”). The artistic works of the American film director have been located on the main axes identified in this context. In addition to the expressionist-surrealist origin and commonly acknowledged connotations with the works of Edvard Munch,

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Ruiz-del-Olmo, Francisco-Javier. "Language and collective identity in Buñuel. Propaganda in the film «España 1936»." Comunicar 18, no. 35 (2010): 69–77. http://dx.doi.org/10.3916/c35-2010-02-07.

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The Spanish Civil War occupies an important place in the European collective memory. The film language and depiction of that conflict provide an important platform from which to study certain features of the European cultural matrix. This paper examines propaganda films produced by the Republican government, especially those films produced under the supervision of Luis Buñuel, the Spanish surrealist filmmaker. At the start of the war, the Aragonese filmmaker returned to Paris following a summons by the Spanish Foreign Ministry to collaborate with the Spanish embassy in Paris in counterespionag

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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.

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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negri

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Fotiade, R. "The slit eye, the scorpion and the sign of the cross: surrealist film theory and practice revisited." Screen 39, no. 2 (1998): 109–23. http://dx.doi.org/10.1093/screen/39.2.109.

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Wierzbicki, James. "Cocteau’s Chimney, Carter’s Cadenza: ‘Dream Time’ Symbols in Sight and Sound." KronoScope 10, no. 1-2 (2010): 15–34. http://dx.doi.org/10.1163/156852410x561826.

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AbstractThe idea of ‘dream time’, or oneiric time, has doubtless been with us since the dawn of human consciousness. But ‘dream time’ is a special kind of time that does not really take time or occupy time, and thus to depict it in a temporal, linear medium is patently impossible. The French filmmaker Jean Cocteau and the American composer Elliott Carter were fully aware of this when they sought to create symbols of the familiar yet ineffable ‘dream time’ phenomenon. This essay examines the interrupted ‘falling chimney’ sequence that frames Cocteau’s 1930 surrealist film Le Sang d’une poète an

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Coombes, Timothy F. "The Nursery as Circus: Dancing the Childlike to Fauré's Dolly Suite, 1913." Journal of the Royal Musical Association 142, no. 2 (2017): 277–325. http://dx.doi.org/10.1080/02690403.2017.1361174.

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ABSTRACTIn 1913, at the Théâtre des Arts in Paris, a controversial but highly successful ballet choreographed a circus-style pantomime to the music of Fauré's Dolly Suite. With its apparently incongruent relation of dance to music, the ballet displayed, as one reviewer put it, ‘criticisms in action’. This article investigates how we might conceive the production as an act of musical and cultural criticism, by examining its close relation with contexts such as early comic film, music-hall entertainment, the children's literature market, medical and anthropological theories, and surrealist thoug

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Melzer, Annabelle. "‘Best Betrayal’: the Documentation of performance on Video and Film, Part 1." New Theatre Quarterly 11, no. 42 (1995): 147–57. http://dx.doi.org/10.1017/s0266464x00001160.

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Whether described as adaptations, documentations, translations, or transcriptions, the video cassettes which allow us to see performances on video are proliferating. Not always easily available for begging, borrowing, or buying, not always willingly turned over by the theatre companies who hold them for in-house use, often lost or erased by television channels, and always beleaguered with copyright problems, these electronic arts ‘documents’ are none the less causing a revolution in teaching, rehearsal methods, and research. In what constitutes a first detailed mapping of the territory, Annabe

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Susik, Abigail. ""The Man of these Infinite Possibilities": Max Ernst’s Cinematic Collages." Contemporaneity: Historical Presence in Visual Culture 1 (June 1, 2011): 61–87. http://dx.doi.org/10.5195/contemp.2011.27.

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On more than one occasion in his critical writings of the 1920’s, surrealist leader André Breton compared Max Ernst’s collages to cinema. In his first essay on the artist in 1921, Breton aligned Ernst’s collages with cinematic special effects such as slow and accelerated motion, and spoke of the illusionistic ‘transformation from within’ that characterized Ernst’s constructed scenes. For Breton, Ernst’s collages employing found commercial, scientific and journalistic images approximated the naturalistic movement of film, and thereby contributed to the radical obsolescence of traditional two-di

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Melzer, Annabelle. "‘Best Betrayal’: the Documentation of Performance on Video and Film, Part 2." New Theatre Quarterly 11, no. 43 (1995): 259–76. http://dx.doi.org/10.1017/s0266464x00009131.

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Whether described as adaptations, documentations, translations, or transcriptions, the video cassettes which allow us to see performances on video are proliferating. Not always easily available for begging, borrowing, or buying, not always willingly turned over by the theatre companies who hold them for in-house use, often lost or erased by television channels, and always beleaguered with copyright problems, these electronic arts ‘documents’ are none the less causing a revolution in teaching, rehearsal methods, and research. In what constitutes a first detailed mapping of the territory, Annabe

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33

Navarrete-Galiano, Ramón. "Viridiana: pervivencia del surrealismo subversivo en la narrativa buñuelesca." Doxa Comunicación. Revista interdisciplinar de estudios de comunicación y ciencias sociales, no. 11 (2010): 161–74. http://dx.doi.org/10.31921/doxacom.n11a8.

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Viridiana (1961) fue una de las realizaciones más polémicas de Luis Buñuel. El filme generó un escándalo al ser tachada de blasfema por el Vaticano, lo que provocó su prohibición en España. Todavía, medio siglo después de su estreno, es una obra transgresora y reivindicativa, que muestra planteamientos y elementos surrealistas, en un discurso que se ajusta a los cánones de la más tradicional narrativa fílmica. Buñuel no abandonó su ideario surrealista ni en filmes como este, lo que convirtió su película en un elemento subversivo. Analizando las influencias, muchas galdosianas, y estructura de

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Allen, David. "Dalí, Disney and Destino: Alchemy in Animation." Text Matters, no. 10 (November 24, 2020): 49–66. http://dx.doi.org/10.18778/2083-2931.10.03.

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Salvador Dalí claimed that he made his whole life “a work of alchemy.” He saw in alchemy the principle of metamorphosis and “the transmutation of bodies.” Carl Jung recognized “imaginatio” as the key to alchemy. As Patrick Harpur suggests: “The Work takes place in a realm intermediate between mind and matter. It is a daimonic process, a ‘chemical theatre’ in which processes and psychic transformations interpenetrate.” The alchemist does not simply work on matter, but on the self. In Dalí’s “paranoiac-critical method,” objects similarly seem to exist in an “intermediate realm between mind

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Adashevskaya, Zlatoslava Alexandrovna. "The Origins of Surrealism. Absolutizing the Unconscious." Journal of Flm Arts and Film Studies 4, no. 2-3 (2012): 296–305. http://dx.doi.org/10.17816/vgik42-3296-305.

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The article analyses three films that marked cinema’s mastering of the leading artistic trend at the turn of the 20-ies-30-ies ,that of Surrealism. Comparing films «Un Chien andalou»(1929) and «L'Age d’Or»(1930) by Salvador Dali and Luis Bunuel with the film «Le sang dun poète» by Jean Cocteau (1931) the author follows the transformations the main postulates of Andre Breton, the founder of Surrealism, underwent.

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MARTYNOVA, DARIA O. "“ELECTRIC PROTO-PERFORMANCE”: ENIGMARELLE THE AUTOMATON AT THE 1938 EXPOSITION INTERNATIONALE DU SURRÉALISME." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 151–70. http://dx.doi.org/10.30628/1994-9529-2021-17.2-151-170.

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The following article is based on a report presented at the Arts and Machine Civilization International Scientific Conference. The author analyzes publications related to Enigmarelle and automata in periodicals of the early twentieth century in order to identify the significance of Enigmarelle’s phenomenon at the 1938 International Exhibition of Surrealism. In the course of the study, it was concluded that Enigmarelle became a centerpiece of the opening, a kind of a wobbler that was intended for attraction and intriguing the public. Enigmarelle is a documented curiosity of the early twentieth

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Freire, Bernardo Curvelano. "Táticas táteis ou um certo tato tático:." Revista de Antropologia da UFSCar 2, no. 1 (2010): 47–72. http://dx.doi.org/10.52426/rau.v2i1.21.

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O presente trabalho tem como objetivo realizar uma descrição intensiva do filme Les Maîtres Fous de Jean Rouch, filmado em 1955, buscando explorar as táticas de filmagem e montagem com uma leitura lastrada por algumas dos horizontes do surrealismo enquanto projeto estético-político. Ao invés de discutir aspectos exógenos, contudo, o que viso é mostrar como o filme em questão se apresenta como um objeto experimental que apresenta um desafio, uma tentação, orientação própria de um projeto surrealista. Assim, espero apresentar alguns dos temas de Rouch segundo o conjunto de táticas indispensáveis

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Parejo, Nekane. "La fotógrafa Denise Bellon: surrealismo, documentalismo y fotografía humanista." Liño 23, no. 23 (2017): 139. http://dx.doi.org/10.17811/li.23.2017.139-146.

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RESUMEN:Entre 1920 y 1940 se desarrolla en Francia un movimiento fotográfico denominado Nouvelle Vision que acoge a un grupo de fotógrafas profesionales de este medio, entre ellas Denise Bellon. Las imágenes de esta autora, estrechamente vinculadas con los artistas de vanguardia, nos servirán para articular conexiones con aspectos relacionados con tres corrientes fotográficas patentes en su trayectoria: el surrealismo, la fotografía humanista y el documentalismo. Para lograr este propósito nos aproximaremos, por un lado, a los rasgos específicos de cada una de estas tendencias fotográficas y p

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Adamowicz, Elza. "Ethnology, Ethnographic Film and Surrealism." Anthropology Today 9, no. 1 (1993): 21. http://dx.doi.org/10.2307/2783342.

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Braz, Beatriz D'Angelo, and Dennys Silva-Reis. "Do verso poético à tomada fílmica: a cinematização de Cahier d’un retour au pays natal de Aimé Césaire / From the Poetic Verse to the Filmic Take: The Cinematization of Aimé Cesaire’s Cahier d’un Retour au Pays Natal." Caligrama: Revista de Estudos Românicos 25, no. 3 (2020): 253. http://dx.doi.org/10.17851/2238-3824.25.3.253-275.

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Resumo: Este artigo visa a fazer uma análise exploratória sobre a adaptação de Cahier d’un retour au pays natal (1939), texto de Aimée Césaire (1913-2008), para sua versão audiovisual homônima (2008) realizada por Philippe Bérenger (1960-). Para isso, primeiro, faz-se uma reflexão sobre os elos entre literatura e cinema e, depois, uma análise em cotejo das duas obras. Exploram-se os vínculos com os movimentos da Negritude e do Surrealismo, e com a pouca percorrida trilha das adaptações fílmicas de poemas. Em suma, esta é uma contribuição para os estudos literários do cinema e para os estudos d

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Giżycki, Marcin. "„Złoty wiek” – arcydzieło prowokacji." Kwartalnik Filmowy, no. 109 (May 25, 2020): 195–99. http://dx.doi.org/10.36744/kf.257.

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Dziewięćdziesiąt lat temu, 31 czerwca 1930 r., w rezydencji Marie-Laure i Charles’a de Noailles'ów w Paryżu odbył się pierwszy prywatny pokaz filmu Luisa Buñuela Złoty wiek (L’âge d’or). W końcu listopada tamtego roku film miał oficjalną premierę w Studio 28 w Paryżu. Kilka dni później (3 grudnia 1930 r.) doszło do jednej z największych awantur w historii kina. W stronę ekranu poleciały kałamarze i inne niebezpieczne przedmioty. Wszystko w filmie, łącznie ze starannie dobraną przez samego reżysera muzyką, było prowokacją, a planowany efekt okazał się spektakularny ku uciesze André Bretona i in

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Fotiade, R. "The untamed eye: surrealism and film theory." Screen 36, no. 4 (1995): 394–407. http://dx.doi.org/10.1093/screen/36.4.394.

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Noheden, Kristoffer. "Against All Aristocracies: Surrealism, Anarchism, and Film." Modernism/modernity 27, no. 3 (2020): 567–82. http://dx.doi.org/10.1353/mod.2020.0041.

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Malpas, Jeff, and Keith Jacobs. "Place, space, and capital: The landscapes of Patrick Keiller." Environment and Planning D: Society and Space 34, no. 6 (2016): 1132–49. http://dx.doi.org/10.1177/0263775816654474.

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Through his three films London, Robinson in Space and Robinson in Ruins, Patrick Keiller has sought, inter alia, to provide an incisive commentary on the neo-liberal social order and the way that the spaces we inhabit are experienced and represented. Keiller’s films draw from a variety of sources including: surrealism; political economy; cinematic theory; and architecture. Yet, although there is a considerable body of commentary on his work, there is less analysis that engages in a detailed way with the substance of the work itself – its images and techniques – or with the framework within whi

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Barzegar, Ebrahim. "Labyrinths and Illusions in David Lynch’s Mulholland Drive and Inland Empire." CINEJ Cinema Journal 5, no. 2 (2016): 168–88. http://dx.doi.org/10.5195/cinej.2016.150.

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David Lynch is known for its surrealistic and bizarre spectacles in his films in and out of America which puzzle and disturb the viewers and yet force them to ponder on the underlying mystery and meaning of them. Multilayered and disjointed narratives of his films strike most of the viewers to get lost in his magical world or Lynchland. In order to fully apprehend his convoluted cinematic narrative, this article aims at unfolding the different layers of his postmodern award-winning film, Mulholland Drive (2001) and INLAND EMPIRE (2006). To achieve this goal, Brian McHale’s thoughts and notions

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Roberts, Martin. "The self in the other: Ethnographic film, surrealism, politics." Visual Anthropology 8, no. 1 (1996): 79–94. http://dx.doi.org/10.1080/08949468.1996.9966667.

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Kolchanov, Vladimir V. "Through “muddy grid”: psychoanalytic transfer as an artistic representation of multicultural paradigm in Lars von Trier’s film “Forbrydelsens element”." Neophilology, no. 19 (2019): 398–412. http://dx.doi.org/10.20310/2587-6953-2019-5-19-398-412.

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We explore the psychoanalytic transfer used by Danish director Lars von Trier in his debut film “Forbrydelsens element” (1984). We consider the stages of therapeutic sleep, its composition and structure. Along with hypnosis, we also analyze the motives of the artistic system of surrealism: strangulation, nausea, narcosis, sadistic and masochistic cruelties, drowning and poisoning, penis divinity, sewage and feces, decomposition of things, carrion and other unimaginable abominations. We show how surrealism becomes an integral part of the global modern art system – postmodernism. The closest att

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Kolchanov, Vladimir V. "Through “muddy grid”: psychoanalytic transfer as an artistic representation of multicultural paradigm in Lars von Trier’s film “Forbrydelsens element”." Neophilology, no. 21 (2020): 189–200. http://dx.doi.org/10.20310/2587-6953-2020-6-21-189-200.

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We explore the psychoanalytic transfer used by Danish director Lars von Trier in his debut film “Forbrydelsens element” (1984). We consider the stages of therapeutic sleep, its composition and structure. Along with hypnosis, we also analyze the motives of the artistic system of surrealism: strangulation, nausea, narcosis, sadistic and masochistic cruelties, drowning and poisoning, penis divinity, sewage and feces, decomposition of things, carrion and other unimaginable abominations. We show how surrealism becomes an integral part of the global modern art system – postmodernism. The closest att

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Schulz, Cynthia. "Between surrealism and politics: An exploration of subversive body arts in 1980s East German underground cinema." Punk & Post-Punk 00, no. 00 (2021): 1–20. http://dx.doi.org/10.1386/punk_00104_1.

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This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This ar

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Zvegintseva, Irina A. "The story of one crime: in life, in literature and in cinema." Journal of Flm Arts and Film Studies 11, no. 3 (2019): 128–37. http://dx.doi.org/10.17816/vgik113128-137.

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Today, the name of the New Zealand filmmaker Peter Jackson is known throughout the world. His films The Lord of the Rings and The Hobbit received many awards, were a major commercial success and conquered millions of viewers' hearts, including the admirers of J. R. R. Tolkien, who followed the screen adventures of their favorite literary characters with bated breath. However, connoisseurs of cinema had closely followed the work of Jackson for many years before the films' release, for his early films above all, Heavenly Creatures, based on a monstrous real crime impressed by the complexity of c

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