Surrealism and Cinema
Michael Richardson
Language: English
Pages: 240
ISBN: 1845202260
Format: PDF / Kindle (mobi) / ePub
Surrealism has long been recognised as having made a major contribution to film theory and practice, and many contemporary film-makers acknowledge its influence. Most of the critical literature, however, focuses either on the 1920s or the work of Buuel. The aim of this book is to open up a broader picture of surrealism's contribution to the conceptualisation and making of film.Tracing the work of Luis Buuel, Jacques Prvert, Nelly Kaplan, Walerian Borowcyzk, Jan vankmajer, Raul Ruiz and Alejandro Jodorowsky, Surrealism and Cinema charts the history of surrealist film-making in both Europe and Hollywood from the 1920s to the present day. At once a critical introduction and a provocative re-evaluation, Surrealism and Cinema is essential reading for anyone interested in surrealist ideas and art and the history of film.
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(1966); Historia Naturae (1967); The Garden (1968); The Flat (1968); Picnic with Weissmann (1968); A Quiet Week in the House (1969); The Ossuary (1970); Don Juan (1970); Jabberwocky (1971); Leonardo’s Diary (1972); Castle of Otranto (1973–9); The Fall of the House of Usher (1980); Dimensions of Dialogue (1982); Down to the Cellar (1982); The Pit, the Pendulum And Hope (1983); Virile Games (1988); Another Kind of Love (1988); Meat Love (1989); Darkness–Light–Darkness (1989); Flora (1989); The
relation to the films he made with Marcel Carné. Prévert also wrote for other directors, among the greatest of the era: Jean Renoir, Jean Grémillon, Christian-Jaque, André Cayatte, Jean Delannoy and Joris Ivens, as well as for his brother, Pierre. A clear thematic continuity runs through all of these films, no matter whom they were written for, and this is also a continuity that is maintained with Prévert’s other activities. As with other surrealists, it is not possible to separate his different
redemptive figure. In the justly famous ending of Dishonoured (1931), Dietrich, who has earlier declared that death is ‘just another adventure’, makes herself up while awaiting the firing Surrealism and Hollywood 67 squad. Not an image of vanity, might we infer that she is preparing to meet her lover? A greater affirmation that life is not always in opposition to death it would be hard to find, and this shows the extent to which Sternberg’s worldview was in harmony with surrealism. The third
consequently condemned to death, Gonzo is appointed as assistant to Gozo’s father in law, Gomor, and is responsible for looking after the dogs, getting rid of flies, and cleaning the shoes of the governor and his wife, Glossia. Meanwhile, Glossia is having an affair with her riding instructor, Gono. Together, they intend to escape from the island in a rowing boat, but when Goto takes Glossia down to the sea, he destroys the boat. Meanwhile, Gonzo is using his position to insinuate himself into the
some of the imagery is genuinely disquieting, with a few marvellous set-pieces: the re-enactment of the Conquest of Mexico with toads playing the parts of Conquistadors, for instance, is splendidly realised. In terms of ideas, however, the film is pretty much the same arbitrary meshing together of notions taken from different religious and esoteric traditions. Jodorowsky’s only other significant film is Santa Sangre (1989), which is by far his best. A colourful, outrageous story of a serial
