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Dali Brenton and the Surrealism Movement
The surrealism movement took place during the aftermath of WWI and started in primarily in France. Surrealism was more of a broad range cultural /social project interested in liberating the human society from conscious and logical thinking to create a utopian society, than an art movement. The surrealism movement was in search of a gateway into society’s subconscious, the break down of rational and logical thinking, (The marvelous.) Surrealist artwork concentrated on individualism, subjective visions and states of disorientation, nihilism, chaos and irrationality of modernity to break down the society’s consciousness. The following artwork played a major part in the search of the marvelous: Salvador Dali’s, Accommodations of Desire created in 1929, which I’ll compare to Salvador Dali and Luis Bunuel’s Un Chein Andalou created in 1929. I’ll also examine the works of Andre Brenton, ‘Exquisite Corpses’ created in 1930 by Andre Brenton, Tristan Tzara, Valentine Hugo and Greta Knutson and If you please by Andre Brenton and Philippe Soupault created in 1919. Both Andre Brenton and Salvador Dali were major player in the surrealist movement. Andre Brenton is considered the father of surrealism and Salvador Dali is considered the surrealist artist of our time.
“Surrealism, n, Psychic automatism in its pure state, by which one proposes to express-verbally, by means of the written word, or in any other manner-actual functioning of thought. Dictated by thought, in the absence of any control exercised by reasons, exempt from any aesthetic or moral concerning.”
Salvador Dali (1904-1989), was a Spanish painter, writer, and member of the surrealist movement. He was born in Figueras, Cataloni...
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...ich made society examine itself as individuals.
Bibliography:
Braudy Leo and Cohen Marshall, Film Theory and Criticism Introductory Readings, Fifth Edition New York, Oxford, Oxford University Press 1999
Kuenzli, Rudolf Dada and Surrealist Film The MIT Press , Cambridge, Massachusetts, London England, 1996
Descharnes, Robert The World of Salvador Dali A Studio Book, The Viking Press, New York 1962
Jean, Marcel The History of Surrealist Painting, Grove Press, Inc., New York, 1960
Microsoft Encarta 97 Deluxe Encyclopedia, Microsoft Corporation 1993-1996
Un Chein Andalou, Produced, directed and written by Salvador Dali and Luis Brunuel, Interama Video Classics, 1928
Avant-Garde in Art, Theater and Film, Fleischer, Harris and Sanderson Fall 1998
Alquie Ferdinand, The Philosophy of Surrealism, Ann Arbor, University of Michigan Press, 1965
Jensen, Paul M. The Cinema of Fritz Lang. New York, A.S. Barnes & Co. 1969
Un Chien Andalou (1929) by Luis Buñuel and Salvador Dali is the quintessential Surrealist film, including shocking imagery, non-linear time, black humour, oddities and a specific editing st...
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 5th ed. New York: McGraw-Hill, 1997.
Bondanella, Peter. (2009), A History of Italian Cinema, NY, The Continuum International Publishing Group Inc.
Surrealism in the 1920s was defined as a fantastic arrangement of materials that influenced Miró, due to the fact that he was one of the most original and sympathetic artists during the Surrealism periods. Miró was born into the Catalan culture in April 20,1893 in Barcelona, Spain (Munro 288). Having to be born into the Catalan culture gave Miró an opportunity to have an intense nationalist activity. In which much attention was paid not only to political expressions of the need for autonomy, but also to the re-Catalanizing of every day life (Higdon 1).
Surrealism, who has not heard this word nowadays? World of the dreams and everything that is irrational, impossible or grotesque, a cultural movement founded immediately after the First World War and still embraced nowadays by many artists. In order to understand it better it is necessary to look deeper into the work of two outstanding artists strongly connected with this movement, and for whom this style was an integral part of their lives.
Within the realm of Surrealism, more specifically the surrealist group, they contain works that are overly subjective and involve definite notions to scientific observation of nature, as well as the interpretations of dreams. Encapsulating the former ideas of Albert Einstein, there is a close resemblance to theories that are at the very base of quantum mechanics. Upon further inspection, Salvador Dali’s artistic imagery and methodology, as well as André Breton’s, could be seen as expressions of lucid subconsciousness. For example, André Breton emphasized the necessity understanding physics as a surrealist, in order to interpret or distort ‘reality’. Within Breton’s Break of Day he states, “Does every man of today, eager to conform to the directions of his time, feel he could describe the latest biological discoveries, for example, or the theory of relativity?” By compounding common themes in Dali’s works we can start to see connections with relativity and fourth- dimensional concepts, and dreams.
...use of documentary style lighting and discontinuous editing that diverges from the Hollywood “invisible” editing. Through understanding the historical climates these two seemingly similar French cinematic movements were in, the psychology of a generation can be visualized in a way truly unique to the indexicality of the cinematic medium.
Salvador Domingo Felipe Jacinto Dali i Domenech, Marquis of Dali de Puebol was born on May 11, 1904 in Spain. His father, Salvador Dali y Cusi, was a middle class lawyer and a notary. His father was very strict with raising his children. On the other hand his mother, Felipa Domenech Ferres allowed Salvador more freedom to express himself however he wanted, we can see this in his art and how eccentric he was throughout his life. Salvador was a bright and intelligent child, and often known to have a temper tantrum, his father punished him with beatings along with some of the school bullies. Salvadors father would not tolerate his son’s outburst or wild ways, and he was punished often. Father and son did not have a good relationship and it seemed there was competition between the two for his mother, Felipa attention. Dali had an older brother who was five years old, who died exactly nine months before he was born. His name was Salvador Dali. There were many different stories about how he was named. It is traditional in the Spanish culture that the oldest male takes the father’s name, this is the simple story. The other story was that his father gave him the same name expecting him to be like his dead five year old big brother. Dali later in life told others that his parents took him to his brothers grave and told him that he was a reincarnation of his older deceased brother. Dali said “we resemble each other like two drops of water, but we had different reflections. He was probably a first version of myself, but conceived too much in the absolute”. Being a child and trying to comprehend that your parents are comparing you to a sibling that has past is difficult but the fact that Salvador had to visit the grave in incomprehensible.
Tarkovsky, Andrey. Sculpting in Time: The Great Russian Filmmaker Discusses His Art. Russia: Soviet State Film School. 1986. Print.
Bordwell David and Thompson, Kristen. Film Art: An Introduction. 8th ed. New York: McGraw-Hill, 2008.
Surrealism and the surrealist movement is a ‘cultural’ movement that began around 1920’s, and is best known for its visual art works and writings. According to André Berton, the aim was “to resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality” (Breton 1969:14). Surrealists incorporated “elements of surprise, unexpected juxtapositions and ‘non sequitur”. Hence, creating unnerving, illogical paintings with photographic precision, which created strange creatures or settings from everyday real objects and developed advanced painting techniques, which allowed the unconscious to be expressed by the self (Martin 1987:26; Pass 2011:30).
Gunning, Tom 2000, “The Cinema of Attraction: Early film, its spectator, and the avant-garde.” Film and theory: An anthology, Robert Stam & Toby Miller, Blackwell, pp 229-235.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.