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Surrealism and the


OmnipotenceofCinema
James. M. Magrini

August 2007

Feature Articles

Issue 44

I. Introduction
WithinTheManifestoofSurrealism(1924),AndrBretoncallsforthecompletetrans
valuation(1)ofmodernvaluesbywayofanartistic,orSurreal,revolution.Conceivingthis
idealistictaskwhilewitnessingthedevastationofWorldWarI,thespawnofthescientific
technologicalrevolution,heseekstooverturntheworldviewofscientificpositivism,exposing
thedogmaticconceptionsofvisionandlanguage,thesupposedguarantorsoftruthandbeing,
asarbitrary,deceptivetoolsofmodernitysoppressiverationalideology.Locatingthemeans
bywhichtointuitivelygrasprealitywithinthepowerful,uncharteddrivesoftheunconscious,
Surrealismattemptstointegratetheseprimordialforcesintoourwakingconsciousnessin
hopesoftransfiguringandenhancingthemannerinwhichweperceive,communicateand
respondtoreality.

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Surrealismisbasedonthesuperiorrealityofcertainformsofpreviouslyneglected
associations,intheomnipotenceofthedream,inthedisinterestedplayofthought.Ittends
toruinallotherpsychicmechanismsandtosubstituteitselffortheminsolvingallthe
problemsoftheworld.(2)

ThisessayworkstoelucidateBretonspositionbywayofaformalandstylisticanalysisof
filmandthetechnicalapparatusofcinema.ReadingtwoofficiallysanctionedworksofSurreal
film,ManRaysLtoiledeMer(1928)andLuisBuuelsUnChienAndalou(1929),we
attempttoexplicatethephilosophyofsurrealism.Inlinewiththisproject,thefollowing
metaphysicalandepistemologicalquestionsareconsidered:Whatisthenatureandstructureof
Bretonssuperiorreality,orSurreality?Howisitthattheallpowerfulactivityofthedream
enhancesourknowledgeandunderstandingoftheworld?Exploringsuchtopicswillclarifythe
Surrealistspositiononcinemaasthesupremestheticmeansbywhichtoexperienceand
knowtheworldasitreallyis,inallofitsmysteriousandinexplicablesublimity,andto
subsequentlycommunicatethisfragile,intuitiveunderstandingthroughanewmodeofpure
expression(3).

II. Man Rays Ltoile de Mer


Surrealismisbasedonthenotionofasuperiorstateofconsciousness,anabsolutereality,or
Surreality,whichmanifestsasthemodesofthedream(unconscious)andreality
(consciousness)arebroughttogethermomentarilywithinanongoing,everreneweddialecticof
counterstrivingforces.Itisthecinema,accordingtotheSurrealists,thatwillleadtothe
futureresolutionofthesetwostates,dreamandreality,whichareseeminglysocontradictory
(4).Themomentarysynthesis,oraggregate,oftheserealms,callsforthahigherstateof
perceptualintuition,whichfacilitatesanunderstandingofrealitythatisbeyondrational,
discursivelogic.TheSurrealistsembraceSigmundFreudsnotionthatbasedrivesandurges
unconsciouslyformthepersonality.However,sinceFreudaddressesthedetrimentalinfluence
ofthesedriveswithintheId,seekingtobringthisseethingwitchesbrewofcontradictory
forcesundertherationalcontroloftheEgo,hisworkreadsasaconservativemanifestofor
theratioscientificideology.Ratherthansublimatingorrepressingtheprimordialanimal
drives,theSurrealistssearchoutstheticmeansbywhichtotapintothevastcreativepotential
oftheseforces.

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Freudlocatesthecontentoftheunconscious,thepsychologicallysignificantsourceofthe
dream,withinthematerialworld,withintheeventsoftheday(5).Themysteriousactivity
ofthelibidoinspirestheunconscious,andthisrepositoryoflatentdesires,tensionsand
unsolvedproblemsrecoilsonthedreamerasshesleeps.Freuddefinestheinstinctsashaving
biologicalaims,sourcesandobjects,whichmanifestthroughtheprocessofpsychoanalysis.
AccordingtoFreud,thecontentoftheunconsciousisexplainablescientifically.UnlikeFreud,
theSurrealistsdonotseektoquellorcurethetumultuouslyagitatedactivityofthe
unconscious,assuchataskisimpossible.Rather,theylooktotheunconsciousinorderto
unlockthesecretsofthematerialworld,viewingunconsciousactivityastheinterfacebetween
theauthenticmetaphysicalgroundsofmaterialityandwakingexistence.Accordingtothe
Surrealists,whendreaming,thesublimeessenceoflifespeaksbywayofthesoulsagitation,
throughtheappearanceofobsessional,instinctualfeelingsanddesires.Astheworldslifeforce
manifests,theimaginationandmemoryformsignificantrepresentations,orartfulsimulacrain
motion.AccordingtotheSurrealists,thedreamcontainsmeaningfulsymbolicrepresentations,
anditsanalogicalmethodofcommunicatingtruthisbestapproximatedwithinthestheticsof
film.Thus,theSurrealistsembracethecinemaspotentialforchannellingandreproducingthe
omnipotentdreamlikemysteriesoflife.Withinfilm,muchlikethedream,thecontradictory
aspectsoftheuniverseintermingle,aslifeisatoncedeath,illusionistruth,nightisday,and
oppositescoexistinastateofunifiedtension,andallthiswithoutfacingthetribunaloflogic.

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ThequestforSurrealityisdepictedwithinthe1929film,LtoiledeMer,writtenbyRobert
DesnosanddirectedbyManRay.Thefilmdepictstheperennialsearchforaloving,solicitous
relationship.TheconceptofLove/Erosalwayscontainsthemenacingpresenceof
death/Thanatos,andthusRaysfilmreflectsthetensionofthesetwoforces.Thefilmis
typicallyreadasastudyinFreudianpsychology.Althoughaccurate,suchaninterpretation
failstoelucidatethefilmsovertlymysticalqualities,theverycharacteristicswhichare
essentialtounderstandingBretonsconceptionoftheSurrealexistence.WithinInezHedges
finearticle,ConstellatedVisions,theseelementsatlastreceiveproperattention.Focusingon
alchemy,theoccultandsignsofthetarot,sheexplainsthemeaningofthevariousincarnations
ofthestarfish,thehermaphroditiccreatureofthedeep,intermsconsistentwiththeSurrealists
aimsandideals.ShereasonsthattheloversUnHomme(AndrdelaRivire)andUne
Femme(KikiofMontparnasse)striveforanidealunionofmaleandfemaleinthepersonaof
asinglearchetype,orartist.Hedgeswrites:

Thestarfishistheandrogynoussymbolthatliesattheendofthesearch,itisa
combinationofthefeminineelementsofearthandwater(asfish)andthemasculineair
andwater(asstar).Withitsfivepoints,itresemblesthehermaphroditethatstandsatthe
endofthealchemicaloperation.(6)

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WhilethisinterpretationofthestarfishasdesiredstateofSurrealityisrelevant,readingthe
filmasamodernreenactmentoftheancientalchemistsGreatwork,athreefoldprocessof
dialectictranscendenceisnotwithoutproblems.Forwithinthealchemistssacrament,the
tensiongeneratedbytheopposingelementsisalleviatedwithinastateofreconciliationasa
new,perfectedelementiscreated,andinthisway,Oneismadefrommanandwoman(7).
ThisprocessresemblesHegelsdialectic,themovementoflifeinwhichoppositesaretakenup
intoanewunityastheirnegationisneutralized.AccordingtoHegel,dialecticsupersession
isaprocessthatraisessomethingtoahigherlevelofBeingbyannulling,suspendingor
destroyingitsexistingstate,whileatoncepreservingcertainpositiveaspectswithinanew
form.HedgeslinksSurrealitywiththedeathofthewoman,whoissacrificedtothecultof
Surrealism.Asthefemininetraitsareannulled,whatremainsofherbeingistakenupintothe
personaofthemale,whoextractshergood,orgold,asitwere.(8)However,suchadialectic
asoutlinedbyHedgesappearsinconsistentwithBretonsdescriptionofSurrealitywithinThe
ManifestoofSurrealism,andthistextisoverlookedbyHedges,whoseinterpretationemerges
fromareadingofBretonsnovel,Nadja,astoryaboutasadistic,narcissisticpoetandhisill
fatedapprenticeandlover.

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BretonisclearthattheSurrealdialecticofdreamandrealityisaprocessofcontinuoustension
neitherforceisresolvedorrelaxed.Thewakingstateisnotsacrificedtothedreamstate,asthe
unconsciousisnotaforcethatprecludestherationalfaculties.Thesuperiorstateof
consciousnessthattheSurrealistsdescribeisanadvancedformofintuitiveperceptual
cognition,composedoftwocounterstrivingmodesofcomprehension,whichproducesa
living,thinkingandcreatingunity.First,thereisthedream,anunconsciouslinktotheworlds
authenticgroundsand,second,thereisreality,whichincludesthecognitiveordering
mechanismthatworkstoproductivelyincorporatemetaphysicalawarenessintowakingreality.
Surreality,accordingtoBreton,isastateinwhicheachforce(dreamandreality)worksin
unisontosupplementandaugmenttheotherspotential.Althoughtheseartistsseekto
penetrateintothemetaphysicaldepthsoftheobjectiveworld,thisisnottoplacethemoutside
thephysicalworldorbeyondthescopeoftheinnatehumanfacultieswithwhichwestructure
theworld.TheSurrealistscertainlydonotrejectrationalityoutright,asifembracinga
thoroughlyirrationalapproachtotheproblemsofartandlife.Rather,theygrantscientific
mathematicaltruthsarightfulplacewithinourepistemology,butinsistthatadeeper,more
profoundformofabsoluteknowledgeoftheworldexists,aformofintuitiveunderstanding
thatisessentialtoformingamorecompleteworldlypicture,whichprecedesandgroundstruth
ofalogicalandreflectivenature.(9)

Withthisunderstanding,wemovebeyondHedgesanalysisofthestarfishinordertoexplicate
themannerinwhichtheSurrealistsenvisagethedialectic,orcounterstrivingphenomenon,
betweenwakingandunconsciousstates.Workingtothisend,wewillanalysethetechnicaland
stylisticelementsofthefilm,mostspecificallyRaysingenioususeofthegelatinfilteredlens.
Raydefiestherationalauthorityofthelookwithasubtletechniqueandpowerfuleffect.
LtoiledeMerportraystheSurrealphenomenonbywayofanalogy,depictingthereversal
andsubsequentresurrectionofartisticvision.Inordertodissolvethebarriersbetweenartand
truth,acleansingoftheperceptualfacultiesisrequired.Inlightofthisforegoinganalysis,
interpretingRaystechnicaluseofthecamera,weshalldistinguishbetween:(1)filteredshots,
whichcorrespondtothephenomenologicalhazeofconventionalreality,withitsobscuring
intellectualpreconceptionsthatprecludeauthenticunderstanding,and(2)unfilteredshots,
whichrepresenttheideaofatransfiguredviewuntotheuniverse(i.e.,Surreality).

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Rayisconsistentwhenfilmingthestarfish,forwhenitappearsintheglassreceptacle,inUn
Hommeshand,aspartofastilllifewithwineandfruit,itremainsundistortedbytheoptical
effect.Conversely,whenUnHommeandUneFemmeappear,theirpresenceisdistortedbythe
gelatinouslensfilter.Thisappearstoexplainthecouplesuninspiredbehaviourthroughout
muchthefilm.Forexample,duringthebedroomsequence,asopposedtoanimpassioned
interludebetweenloverandbeloved,thespectatorinsteadwitnessesadry,prosaicencounter.
Shedisrobesasifuninterestedinmakinglove,andheexhibitsnosexualdesiretowardher.The
sceneconcludesasthemanleanstosoftlykissthenudewomanshandbeforebidding,
Adieu.Itseemsasiftheoppressiveweightofsocietysburdenisinternalised,andworksto
repressthecouplesdesiresandcreativevitality.Itisasifthecoupleisrepresentativeofthe
Surrealmovement,oravantgardeartingeneral,withitscreativeiconoclastictendencies
renderedimpotent,relegatedtotheouterreachesofculturewheretheyareforcedtowork
againstamassivelyoppressiveanddominantpolitichegemonyasamarginalizedandlargely
ineffectualforce.

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Thereisanundeniabletensiontothefilm,whichRaycreatesthroughtheuseofmany
ingenious,editingtechniqueshiscutofthefilmsuggeststhestrugglebetweentheantipodal
forcesofdreamandreality.Ratherthanstrivingforcontinuity,hecutsthefilmwiththeintent
todisrupttheideaofnarrativefidelityand,throughjuxtaposingobjects,locationsandcamera
effects,hedisturbstheflowofimagestoportraytheinherentdangerwithinthequestfor
Surreality.Therapidintercutsofimagesagainstthenarrativesflacciddepictionthreatento
tearthefilmintwodirections.Forexample,Rayincludesatrackingshotofafastmovingtrain
alongblurredrailsandpanshotsofnewspapersrapidlyblowingaboutthestreet.Healso
incorporatesamultiplicityofspecialeffectse.g.,singleframeanimation,splitscreenand
multiscreenpresentationswhichrevealthestarfishwhirling,suspendedinitsglass
receptacle.Thesepictographicdisturbancesalladdacuriousenergyanddisturbingportentof
dangertothefilm.

Intheclimacticmiseenscne,theforebodingtransitionofthecoupleintothestateof
Surrealityisportrayed,withinathreeshotsequence,asanencounterwithThanatos,for,as
Bretonstates,Surrealitywillusheryouintodeath,whichisasecretsociety.(10)Thereis
indeedadeathandsacrificeoccurringinthefilm,butitisnotabiologicaldeathratheritisa
death(andsacrifice)perpetratedinmetaphor:bothcharactersdietothevenerableidealsof
modernity.Muchlikephilosophersofthefuture,theysetsailandventureoutintothe
dangerousunchartedwatersofthesea(LaMer),leavingbehindtheterrafirmauponwhich
theidealsofscienceandfirstphilosophyareconstructed.Astherealmofvenerableideals
slowlyfadesinthedistance,bothartistsaretakingonthevitalresponsibilityfortheir
existence,whichoftencomes,asSartrereminds,atanextremelyhighprice.

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ThefirstscenedepictsUneFemmestrepidationasshecontemplatesherpotential
enlightenment,forthereismuchthatremainsuncertain,muchthatistobefearedinwhatis
promisedbywayofSurreality.Asshecrossesoverintothedangerousterritory,sheis
confrontedwiththeterrifyingrealityofthesacrifice:i.e.,anunderstandingofwhatshemust
relinquishinordertobecomeanartistparexcellence.Asshestepsfromthebed,placingher
footonwhatappearstobeatext,heractionsarecrypticallyshroudedfromthespectator,Ray
framingtheshotusingthefilteredlens.Allatonce,thescreenfadestoblack.Withnochange
oftheangle,thelensopenstorevealamodifiedsetting.Rayremovesthefilteratthispointand
presentsatransfiguredviewofthings,markingoutthefemalesreceptivitytotheSurreal
experience,andthisshotincludesthestarfish,whichispositionedbelowherfoot,nexttoan
openbook,whichisnowclearlyrevelledasatextofBlackMagic,oralchemistshandbook.

Again,fromtheopticallytwistedvantagepointofthegelatinfilteredlens,thesecondepisode
occurs.UneFemmemovesupthestairs,toreenterthebedroomfromwhichshehadearlier
departed.Clutchingalargesacrificialdaggerinherhand,representingtheswordoftheTarot
andthemalesexorgan,sheispoisedontheshadowyperipheryofthecircleofSurreal
illumination.Thissceneofforebodingdeathpromptsthefollowingquestion:Willsheperform
asacrificeasamodernincarnationofIsis,orwillsheinsteadserveasthesacrificialofferingto
ahigherideal?AsUneFemmecontinuesherascent,thefilterisremovedandthesecondshot
ofthedualmatchcutundoubtedlyrepresentstheclarityofSurrealvision,whichstrikesthe
spectatorwithforce.Rayallowstheviewertoseeexactlywhatistranspiringwithpristine
clarityoffocus.Assheexitstheframe,thecameratiltsdownandzoomstothestarfishin
closeup,whichisnowpositionedonthecarpetedstep.Then,astheactionproceeds,Raycuts
backtothewomanwiththedaggerandcleverlyengagesthefilteronceagain.

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ThefinalsequencerecordswhatHedgesreadsasthesynthesisofthealchemicalprocess,the
momentwhenthetensionbetweenoppositesisresolved.AsopposedtointerpretingUne
Femmeonthebed,clutchingthedagger,asthesacrificialvictim,withherfeminineelements
brokendownandreconstitutedwithinamasculinepersona,itispossibletoenvisagethisscene
asrepresentingadoublesuicide,adualsacrifice.Thisbecausetheframenotonlyincludesthe
femalesdeathshelaysmotionlessonthebedwiththedaggerbutaswellsuggestsUn
Hommesdemise,forthedaggerinherhandcertainlyintimateshispresencebywayof
absencei.e.,thelossofhismanhoodthroughcastration.Filmedwiththegelatinlens,Rayis
perhapsrepresentingwhatamountstoadoubledeath.Atonce,thefieldoftheframechanges
andtheshotincludesthestarfish,superimposedoverthewomanshandwiththedagger,and,
withthiscut,thefilterisdisengaged.RayshowsUnHomme,UneFemmeandthestarfishina
clearlyfocusedshotforthefirsttimeintheentirefilm.Thisgivestheimpressionthatboth
maleandfemalearetakenupintothestateofSurreality,andthisrebirthintothe
hermaphroditicbiologyofthestarfishincludesasacrifice,aspreviouslynoted,adeathto
venerablehabitsandmoresofmodernity,whichistosuggestthereassessmentofgender
classifications,orthestereotypicalrolesthatareroutinelyassignedtothesexes.Rays
impressionofthetransformationofvisionandspiritoccurringinthemomentoftheSurreal
consciousnessresemblesamomentofrebirthinwhichbothmaleandfemaleelements
(dreamandreality)remainviableandoperative.

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ManRayliberatesvisionwithinLtoiledeMerandconcludesthefilminanartisticmanner
visioniswipedclean,sotospeak.However,inordertosee,experienceandunderstandthe
worldthroughthelensofSurrealism,morecreativeworkisrequired,andLuisBuuelsfilm
of1929,UnChienAndalou,furtherattemptstoincitethedissociationbetweencultureand
politics,betweenanartisticworldviewandaworldviewfuelledbyscientificoptimism,which
fostersthemisguidedbeliefthatscientificprogresswilleventuallysolvetheworldsproblems.
Whatisrequiredinordertobreakthetraditionofdevaluedvalueswithemptymeaningsis
nothinglessthanabrutal,visceralexperienceoftheuncanny(dasUnheimlich).Theeye,the
symbolicandliteralorganoftheEnlightenment,mustbedestroyed,forsincetimeimmemorial
itisalliedwiththeauthenticgroundingofbeing,thefoundingofexistence.

However,priortoexaminingthisfilm,criticalissuesregardingthecinematicmechanism,
alongwiththemeaningofitsuniquelanguage,mustbeaddressed.Thecinema,accordingto
Breton,gainsitsimmediacyandpowerfromtheomnipotenceofthedream.

III. The Omnipotence of the Cinema


AristotlesPoeticsofferstheparadigmaticmodelforliteraryplotconstruction,whichhas
inspiredthemainstreamcinema:e.g.,thestoryfilm,accordingtoJeanEpstein,andclassic
cinema,inthewordsofJeanPierreOudartinshort,whatwetodaycategorizeascommercial
cinema.AccordingtotheSurrealists,Aristotlesclassicalmodelprivilegesthelogicof
constructionandexplanationoverautonomouscreativity,representingavileformofliterary
contamination,whichstiflestheauthenticartisticpotentialofthecinema.WithinAristotles
model,eacheventwithinthestoryisexplainedanddevelopsoutofwhatprecedesit.(11)
AccordingtoBreton,thisnotionoftragicplotconstructionfostersafalsebeliefthatthe
worldworksinasimilarmanner:i.e.,theuniverseunfoldsinateleologicalfashionandis
thereforelogicallycomprehensible.Incorporatingthismodel,traditionalcinemaselectsplots
withexplainableevents,whichfollowinsequencealongalineartimeline.Thecinemaalso
presentsitsstoriesbymeansofrealisticdepiction.Again,workingfromthisclassicmodel,
filmisdefinedasamimeticspectacle:i.e.,therealisticportrayaloflifeprojectedonthescreen.
TheSurrealistsfindthiscinematicmodelabsolutistandoppressivebecauseitservesasa
vehicleforthesubversivetransmissionofconformist/capitalistpoliticalvalues,whichare
insidiouslyconveyedbywaythefilmsstylised,formalstructure.

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TheSurrealistsseektosubvertthiscommercializedfilmmakersmodel,astheirinterestslie
inportrayingthedream,notreality.Reworkingthetraditionalstheticstructuresofthe
cinema,theystrivetoelicitthedreamersexperienceoftheunconsciouswithinthecinema
house.JustasFreudbelievedthatdreamsrequireaspecialunderstandingandapproachinorder
todecodetheircryptichieroglyphics,sotootheSurrealistspursueaformofdreamdivination
throughtheagencyofthecinema.Asoutlined,Freudbelievesthatdreamsaretheimpetusof
thedaysresidue,notmeaningless,andnotabsurd,dreamsarepsychicalphenomenaof
completevaliditythefulfillmentofwishes(12).TheSurrealiststranscendthismeta
psychologicalapproach,for,aswehaveexplained,theydefinethedreamastheharbingerof
lifesauthenticprimordialgrounds,whichsustainthematerialworld.Dreamsarenevertruly
decoded,theyareintuitedperceptually,andtheSurrealistsholdtotheviewthatthecinemaas
themosteffectivewaytomediateandreproducethedreaminreality,andthusputtheartist
andspectatorintouchwiththelivingforcesoftheunconscious.UnlikeFreud,Bretonandthe
grouparenotinterestedininterpretingthedreamscontentperse.Rather,theyareintrigued
withexperiencingthepure,rawandunbridledunconsciouspowersthatunderliethedream.
Mostparticularly,theSurrealistslooktothestructureofthedream,themannerinwhichit
unfolds,inhopesofadoptingthispatternasamodelfortheirinspiredcinema.

Immediatelyquestionsarise:Ifsuchanartisticintuitiveconsciousnessispossible,whyisthe
cinemaconsideredthesuperiorartisticmediumforinducingSurreality?Ifthedreamand
realityareopposingdomains,howisitpossibletounitethemand,further,howisitpossibleto
accesstheunconsciousrealmwithoutprecludingwakingconsciousness?And,finally,ifthe
stateofSurrealitycommunicatestruthsofapretheoretical,prelinguisticnaturei.e.,beyond
thegraspofdiscursivelogic,beyondtherangeoflinguisticrepresentationhowisitthatthese
socalledtruthsarecommunicableatall?JeanGoudaladdressesseveraloftheseconcerns
withinthe1925essay,SurrealCinema,aworknotonlyinvaluabletotheunderstandingof
Surrealfilmmaking,butbecauseitprovidesvaluableinsightsintothenatureandstructureof
thecinemaingeneral.

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Initially,Bretonbelievedthatpoetry,createdthroughaprocessofpsychicautomatism,held
thepotentialtoawaken,withinartistandparticipant(reader),theheightenedstateof
intellectualawarenesswehavedefinedasSurreality.Readingsuchpoetry,itwastheorized,
causedtherationalfacultiestomomentarilyrelax,inducingastateinwhichtherigidbarriers
betweenconsciousandunconsciousexistencemeltedaway.However,asGoudalcorrectly
pointsout,thisideaofpoetryasabridgetoSurrealityisbasedonaflawednotionoflanguage,
forallformsofwrittenandverbalspeech,operatewithin,andarethereforesubjectto,the
logicalrulesofgrammar.AccordingtoGoudal,languagestructureshumanthoughtandsoitis
impossibletoaccessaprelinguisticdomainbywayofpoetry,nomatterhowcreativeits
techniquesbecausethecompleterepudiationoflogicisalwaysforbiddentolanguage(13).
Sincewemustrelyonanorderedsystemofgrammartounderstandwrittenandverbal
discourse,thenonsensepoetryofBretonandSoupaultreadsassuchi.e.,itis
incomprehensible.

Thisisnotsowiththecinema.AccordingtoGoudal,filmicimagesholdthepotentialtobypass
themindsdiscursivefunctions,thelogicalgroundsoflanguageandtoachievewhatBretons
poetrycannot.Duetotherapiditywithwhichthefilmsimagesstriketheviewersvisualfield,
thelogicalmechanismwhichtriestolinktheimagesonthescreen,insomewayorother,will
nothavetimetobesetinmotion(14),andsothelogicalmechanismswhichstructureour
linguisticunderstandingarenotactivated.Cinematicmeaningoccursinamannerthatdiffers
fromthedomainofliterature,forinthecinemathemindisworkingautomatically,or
intuitively,tolinktheimages.Asopposedtoconceptualisingfilmicimages,aprocess
groundedinlanguage,cinematicideasareformedthroughassociationasthespectator
perceivestheimagesonthescreen.Thecinemauncannilyapproximatestheassociative
processesofthemindwhilebeingabletoavoidtherationalstructuresoftraditionallinguistic
symbolization(15),therebyavoidingtherulesuponwhichgrammardepends.Theemotive
powerandoverwhelmingimmediacyofcinematicimagerythruststheforceofits
communicationbeyondtherealmofpureintellection,andthecinemasharesthisqualitywith
thedream.But,howisitthatthecinemarepresentsthedreamontheconsciouslevel?

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AccordingtotheSurrealists,thisisduetotheuniquephysical,technicalandsthetic
propertiesofthecinema.First,thecinematicexperiencecreatesthedreamershabitat.Within
thedarkenedcinemahouse,asenseofdepersonalisationoccurstheoutsideworldislocked
outandthespectatorsattentionisfocusedonthescreen.Asdescribed,cinemaspictorial
imageryworksontheviewersphysiologyandpsychology,ontheprocessesofcognition,
inducingamomentofperceptualinsight,inwhichthespectatorisprocessingimagerybyway
ofassociation.Second,thecinemapresentsthestuffofdreams,itsemotivesimulacra,andthe
persistenceoftheseimagesontheretina,whichisthephysiologicalbasisofthecinema,
claimstopresentusmovementwithintheactualcontinuityofthereal(16).Thespectator
believesinherreality,justastherealityofthedreamisaccepted.However,whilethespectator
iscertainlysweptalongbytheseimages,asifmovingalongthesurfaceofadream,thereis
somethingundoubtedlyartificialabouttheexperiencethatregisterswiththespectator.

Herewemoveclosertothenotionofthecinemaasconscioushallucination.Thewhirringof
theprojector,theflickeringstrobeeffectofthelightbeamingfromthelenstothescreen,the
mechanicalmovementsoftheactorsandthebaremechanismofthecinematicapparatusall
contributetothefilmsstatusasillusory.Inthisway,thespectatorscompletebeliefinthe
fictionisheldinabeyance,thusleavingthespectatorinaconfusedconsciousnessof
personality(17).Thespectatorthereforemaintainsasimultaneousbeliefin,andreceptivityto,
theirreality,asinthedream,whileatoncemaintainingtheconsciousabilitytodiscerntheir
statusascinematicillusion.Thisphenomenonproducesthewakingunionofdreamandreality
theSurrealityofwhichBretonwrites.

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MovingbeyondGoudalsanalysis,wenowattempttoidentifythemeaningfulformof
revelationandcommunicationuniquetocinema,byexaminingthepoeticmodeofanalogy
(symbolismandallegory).ForaccordingtotheSurrealists,thepoeticimageinthecinema,
anditsepistemologicalextension,theanalogy,servesasanalternativeprincipleforreordering
traditionalcinematicdiscourse(18).TheSurrealistsbelievethatdreamimagesareanalogies,
theyareperceptualrepresentationsoftheauthenticgroundsofmateriality,andthecinemamost
closelyapproximatestheseforceswithinrepresentationsofitsdreamlikeimagery.Cinematic
representationsareanalogoustotheimagesthattheunconsciousinspiresindreams(recallthat
fortheSurrealists,theunconsciousisthemediatorbetweentheauthenticworldforceand
humanity).Thecinemathusrecreateswhatitisliketodreamand,throughanalogy,whatitis
liketoexperiencetheauthenticgroundsofreality:Inanalogy,onethingislikeanother,
notexactly,butinenoughwaystoestablishapowerfulrelationshipbetweenthetwoofgreat
significance.(19)ThisiswhattheSurrealistsmeanwhentheyspeakoftheimmediacyof
filmsimagery,anditsvastpotentialfordeepmeaningsandmultiplemeanings.Thecinemas
modeofcommunicationisuniqueamongthearts,asitsrepresentationsdrawtheirenergyfrom
thesourceoftheworldssublimemetaphysicalorigins.Whenexpressedontheplaneofthe
analogical,thefilmsmessageisexperiencedbytheenrapturedspectatorinsuchawaythatis
alwaysbeyondthesyllogism,beyondthescientificproof,andbeyondanyformofpurerational
comprehension.

IV. Luis Buuels Un Chien Andalou

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Thelogicandformofthedream,alongwithitspotentsimulacra,inspirethe1929film,Un
ChienAndalou,writtenanddirectedbySalvadorDaliandLuisBuuel.Fromitsprologueto
finalmoments,thefilmworkstoinduceasubversiverealityinthethresholdatthemarvelous
worldoftheunconscious(20)inshort,todisruptthetraditionalchainofcinematicmeaning
byradicallystructuringthefilmaccordingtothelogicofthedream.Buuelbelieveshecan
obliteratetheliterarycontaminationhauntingthecinemabyinfusingthecinematicprocess
withthedreamexperience.

Thisfilmimmediatelyworkstounderminetheviewersconfidentrelationtotheold,familiar
waysofseeingandknowing,inordertopavethewayforthespectatorsindoctrinationinto
newwaysofunderstandingtheworld:i.e.,thewaysinwhichtheSurrealartistsperceivethe
worldand,so,BuueldemandsanewformofSurrealvision.Followingthetitlecard,Once
uponaTime,Buuelproceedstodestroythesenseorganmostcloselytiedwithknowledge:
i.e..,themindseyeofrationalismandthephysicaleyeofempiricism.Perhapsthelook
oftheWoman(SimoneMareuil)momentsbeforesheisassaultedbyBuuel,isLeregard,
JeanPaulSartreslookthatturnshumanstoobjectsanddemoralizesthem.Tothinkofheras
Buuelspatient,orexperiment,istounderstandwhyheisinfamouslyknownasthesurgeon
ofthelook.Asanobjectofscience,shebecomesamerethingtobemanipulated,acold
biologicalentityforexperimentation.Withthelook,humansseeonlythings,objectsofan
impersonalnature.ThehumanencounterwiththeOtherisreducedtoaprocessof
manipulationandeachmanipulatestheotherforselfishreasons.Yet,accordingtoSartre,ashe
philosophiseswithinBeingandNothingness,thosewhodothemanipulatingareinturn
manipulated,theglareworksonthemaswell,andhumansbecomeobjectsintheeyesofthe
Other.(21)BeyondSartresexistentialism,thisisthedisastrousviewofhumanitythat
scientismestablishesandenacts.

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Ifthisistrue,howisitthatthisshort,twominutesequenceworkstomovethespectatorso
profoundlyattherootsofherconscience?ForthemomentBuuelcuts,thespectatorrecoils
inhorrorandthehuman,alltoohuman,emotionswellupfromthedepthsofthesoulto
exclaim,Sheisnotamereobject,butanotherhumanbeing!But,itistoolateandthe
spectatorrealizesherimplicationascoconspiratorinthiscrime,andthussuffersintenseguilt.
SuchisthebrillianceofBuuelasafilmmaker.Hehashisrevengeonsocietyandthe
moviegoer,whoseesonlythroughthedepravedeyesofmodernconvention.Withthis
sequence,isBuuelcallingthespectatorbacktotheemotionalfeelingworld,theworldof
creativesthetics,whichscienceandreligionhavesovehementlysoughttodevalue?
Whatevertheanswertothisquestion,itisclearthatBuuelispreparingthespectatorforan
encounterwithSurreality,andtheviolentprologueservesasanecessaryprerequisitefor
sustainingthenextsixteenminutesofthefilm.

AsopposedtoRayslowbudgetexperimentalshort,LtoiledeMer,Buuelpresumably
sparesnoexpenseintheefforttocapturetheslick,professionallookandambienceofalarge
budget,studiofundedfilm.Inaddition,herecreatestheillusionofmainstreamcinemas
narrativeliterarystructure.However,thefilmssocallednarrativeisinfactnonarrativeat
all,foranybeliefintheexistenceofastorylineisquicklydispelledasBuuelinterruptsthe
realistic,logicalportrayalofeventswithbizarre,terrifyingand,attimes,humorousimagery,
withtheexplicitpurposeofestablishingandthendestroyingoutright,thespectators
comfortablerelationshipwiththefilm:e.g.,thespectatorsknowledgeof,andtrustin,the
imagesandeventsunfoldingwithinthecompressedlocusofthecinematictimespace
continuum.Charactersabruptlyjumpfromonelocationtoanother,fromonevignetteto
another,inamannerthatdefiestheforcesoflogicalreason.Tocitebutoneimportantexample,
thefemalewhowasblindedduringtheprologuemiraculouslyregainshersight,for,asthefilm
begins,sheisreadingabook,andallthisafterthefilmtextinformsthespectatorthateight
yearshavepassed(EightyearsLater)sincethehorribleincident.

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Startledbywhatappearstobealoudnoisecomingfromthestreet,theWomanrisesfromthe
bedandmovestothewindow.ShespotsaMan(PierreBatcheff),whohasfallenoffabicycle
andlookstobeseverelyinjured.Heislyinginthestreetagainstthecurb,andhismangled
bicyclewheelspinsaimlessly.Usingaseriesofconnectingshots,indicatinghermovement
fromapartmenttostreet,thesequenceconcludeswithhercaressingtheManshead,moaning
andmourning,inanoverwrought,melodramaticfashion.Themanwasherlover,andit
appearsthatheisdead,asifthehandofThanatoshasstruckdownEros.Buuelthenwhisks
thespectatorabruptlybacktothebedroomwiththeuseofasingletransitionshotofa
mysteriousstrippedboxsuperimposedonthestreetscene.Theboxappearstocontainthe
Mansclothesor,perhaps,itishisremains.TheWomanbeginsarranginghisbelongingson
thebed.Shelaysoutatie,acollarandthesmallstripedbox,whichrepeatedlymakesits
appearancethroughoutthefilm.Throughthecameraeffectofsingleframeanimation,the
Manstiebeginstoknotitselfaroundthecollar,formingasemblanceoftheloverinmemorial,
orperhapsitisaceremonyforhisresurrection.Allatonce,thecameraframeshimstandingin
thecorneroftheroom,whereheisintentlycontemplatinghishand,whichiscrawlingwith
ants.Buuelorchestratesthiscamerashotinsuchawayastogivetheappearancethattheants
areemergingfromanopenwoundintheManspalm.Thisentiresequenceofbizarre,illogical
eventsisfilmedandeditedinatraditionalmanner,thusgivingthefalseimpressionthatthe
eventsaresomehowlinkedwithinalogicalchainofcausation.Althoughthespectatorattempts
todrawthecausalthreadbetweentheseincidents,theyrefusetosubmittoanyteleological
notionsofstorytelling,thusblurringthelinesbetweentherealmsofreality,fantasyanddream.

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Buuelalsodemonstrateshisartisticflairasafilmmaker,withinamasterfullyeditedmontage
sequence,whichagainconjuresthespectatorsstrugglebetweenexpectationandfrustration.
Forthissequence,whicheventuallydeliversapowerfulimpact,Buuelutilizeslapdissolvesto
givethesequenceanattractivestheticappearance.ThemontagebeginswiththeManshand
coveredwithants,thisimageslowlydissolvestorevealafemaleshairyunderarmregion,
whichsubsequentlygiveswaytoaliveseaurchinwithhairlikespikesswishinggentlyinthe
water.Slowly,thisshotdissolvesintoalongshot(craneshot)ofthestreet,andthespectatoris
lookingdownonacrowdofpeoplegatheredaroundtheMansseveredhand,whichthelast
shotbringsintoclarity.Thishypnoticallybreathtakingsequenceconcludeswiththegruesome,
uncannyimageofacuriousandrogynousyoungsterpokingatthedismemberedappendage
withastickasitliesinthemiddleofthestreet.

Herethestylisticelementsofthemontagedissolvereflecttheiruseintraditionalcinema.
Thespectatorisabsorbedinthebeautiful,dreamlikeformsoftheimagerywithinthiselegant
presentation.However,thesubjectmatteroftheimageryishighlyproblematic.Forthese
thingsinthemontageareinfactoddandfrighteningchoicestoincludewithinasequenceof
suchapparentbeauty.Afeelingofrepulsioninsidiouslyovertakesthespectator.Ononelevel,
shestruggleswiththeimmediatepleasurethattheformsoftheimagesgivetothesenseson
anotherlevel,sheexperiencesthehauntingdiscomfortarousedbytheircontent.Such
sequencesarecommonforBuuel,forheknowsthatinthedream,itisquitepossibletocaress
awoman,asdoestheMan,andtoexperiencethetransformationofherbreastsintobuttocks
rightbeforetheeyes.

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Buuelalsoinsistsonincludinghumourwithinhisfilmsasatoolfordisruptingthe
conventionalcinematicorderandnospectatorcanresistchucklingatthewildseductionchase
scene.TheMan,whoislookingdownfromthewindowathisseveredhandinthestreet,
watchesasapassingautomobilerunsdowntheandrogynousfigure.Atoneinstant,theyouthis
pokingatthehand,andthenextheisgiventheMansboxbyapoliceman,whichcontainsthe
severedhand.Longinglycaressingtheboxinanintenselymelancholicmanner,theyouthis
surprisedbyaspeedingcarcrossingthroughtheframethatabruptlymowsher/himdown.The
Manisarousedbythishorrificevent,aneventthathehadinfactbeenanticipating,andbegins
tochasetheWomanaroundtheroom.Attemptingtoavoidhisforcefulamorousadvances,she
fightshimoffwithatennisracket.Withlustinhiseyesandananusforamouth,whichhas
appearedthroughtheopticaltrickeryofBuuelscamera,TheManisinhotpursuitoftheGirl.
Then,hehaltshissteps,andbeginspullingontworopesthatarepositionedatthelevelofhis
feet.Theseropesareapparentlystrainingtosecureanextremelyheavyweight.Withthisscene,
thespectatorlearnsthatitisnotthethreatofphysicalharm,bywayofablowfromthetennis
racket,thatdeterstherapeoftheWoman,butratheritisthedeadweightofanentiresociety
thatiscrushinghisravenouslibido,hiscreativetendencies.Ashetugsontheropes,twoprone
priestsandtwograndpianos,eachwiththerottingcorpseofadonkeydrapedoverthefront,
movethroughtheframe.Theanimalseyesaregougedandtheirteethgrininsuchamacabre
mannerasiftoridiculethewhiteivoryofthepianoskeyboards.

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Buuelsdisregardfortraditionalcinemasnotionofthecompressedtemporallocusisobvious
throughoutthefilm,butismostevidentduringscenesthatareclearlymarkedoutas
transcendingtime.Buuelisnotattemptingtomeltrealtimewithinreeltime,ashis
charactershavenopastorfuture,andappeartostandonlywithinthepresentmoment,andsuch
understandingoftimeisanalogoustothetemporalityofthedream.Interestinglyenough,itis
theconventionalunderstandingoflanguagethatoperatesonthespectator,inducingthe
anticipationofnotonlyatimechangee.g.,theintertitleSixteenyearsbeforeproducesthe
expectationthatBuuelistransportingthespectatorbackintime,tothepastbut,aswell,the
influencethatachangeoftimewillhaveonthecharacters.But,ofcourse,nocharactersagein
thisfilmtheyremainunchanged,abstainfromdeath(toapoint),andtheirmissinglimbsand
organsaremiraculouslyrestored.Thesecharactersdemonstratenothinginthewayofreflection
orreflexivity,andinthissenseBuuelmosteffectivelymodelsdreamtimewithinthescene
thatfeaturesthetwins,ortheduelofthealteregos.

Whenthespectatorlearnsthatthefilmismovingbackintimesixteenyears(Sixteenyears
Earlier),theanticipationexiststhatthedirectorwillpresenttwoyoungmen,perhapsas
adolescents,inaflashbacktothedaysoftheiryouth,whichwilladequatelyexplaintheMans
splitpersonaasamaterialpresenceintheroom.Yet,aftertheintertitle,Buuelpresentsthe
sametwomen,wearingthesameclothesandthesameexpressions:itisasifneithermanhasa
pastandthetwinoftheManhasjustappearedonthescene.Thedoublepicksuptwowriting
journalsfromthetableandhandsthemtotheMan.Thebooksthatheholdsmutateinto
revolvers,anditseemsasifthemostSurrealactisinfactnotshootingrandomlyintoacrowd,
butratheroccursaswefaceouralteregoinafilmnoirstyleshootout.WiththeMan
brandishingtwosixinch,policespecial.38s,themockduelisenactedinamannerreminiscent
ofaJohnFordWestern,oramoodynoirdetectiveyarnlikeHowardHawksTheBigSleep
(1946).AstheManstwingesturessurrenderbyraisinghishandssubmissively,theMan
mercilesslyopensfireonhishelplessalterego.Thefatalshotsarefired,thetwinishitand
beginstofall,butneverreachesthecarpetedflooroftheroom.Assubjecttothelawsof
gravity,thespectatorexpectsthedeadmantofalltothefloor.Theprinciplesofphysics
demandthis!

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AdissolvecarriesthetwinintoatreelinedparkwheretheWomaniswaiting,asshehasbeen
mysticallytransportedfromtheroom.Then,justasabruptly,sheistransportedbackintothe
apartment.Oncethere,throughaseriesofsuperimposedimagery,shecontemplatesthedeath
headsmothasthecold,darkpresenceofThanatosclosesin.TheManonceagainappearsin
theapartment.Buuelthenputsanendtotheirrelationshipbywayofabrilliantlycutfaux
dialogueexchange,allphotographedinstrictaccordancewithtraditionalcinematicguidelines
forcontinuity:e.g.,a3040degreecameraangle,shot/reverseshot,adherencetothe180
degreerule,andotherstylistictechniquesbuiltuponestablishedmodelsforcapturing
seamlessandrealisticdialogueexchanges.ThereisanargumentbetweentheManandtheGirl,
buthecannotspeaktoverbalizehisdiscontent,andnotsimplybecausethefilmhasno
soundtrackrather,itisduetothefactthattheMansmouthhasdisappeared.Althoughitis
quicklyreplacedwithfeminineunderarmhair,hisemotivecommunicationisrestrictedto
physicalgestures.Inthisscene,theactorsembodiedpresencespeaksaphysicallanguageof
aseeminglysublinguisticnaturetoconveytheseethingintensityofthescene,asBuuel
includesnodialoguecards.(22)AstheGirlmockstheMansapparentimpotence,stickingout
hertongueathimrepeatedly,sheisobviouslytellinghimoffforthelasttime,puttinganendto
theirtumultuous,dysfunctionalrelationship.

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Asthemoviedrawstoitsclimax,oranticlimax,Buueloncemoreteasesthespectatorwiththe
sign,IntheSpring.Thereisapervasivedesireaccompaniedbyanticipationthatperhaps,at
thispointinthefilm,logicwillreignsupremeandlovewillwintheday.FortheWomanhas
nowtakenanewloverand,astheywalkhandinhandalongthebeach,theypasstheMans
discardedbelongings,whichundulatetotheebbandflowofthewaves.Thisscenehasallthe
trappingsofastylisedHollywoodending,withtheproverbiallongshotofthecoupleandthe
obligatoryfadetoblackconclusion.However,UnChienAndalouisallaboutdisruptingand
frustratingthespectatorsexpectations.WhatBuuelofferstheaudienceinsteadisascenein
whichthecouplearedead,burieduptheirchestsinthesand,withtheireyesgougedoutand
theirvacant,concaveeyesocketsarecrawlingwithinsects.Andhere,forthefirsttimeinthe
film,isBuuelsliteralism,andthisoccursintheportrayalofdeath,astheultimate
culminationofdesire,astheultimatepossibilityoftheimpossibilityofbeing,whenall
aspirationsforaprojectedfuturecometoanabruptend.Intheblindnessofdeath,withinthe
realworld,societysvictims,themarginalized,segregatedandoppressed(andthisincludesthe
Surrealistsandtheavantgardeculture)donotreturnfromtheotherside,andnocinematic
trickorslightofhandcanalterthisexistentialfact.

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RayandBuuelworktocausethedisjuncturebetweenthespectatorandtheirexpectationsof
whatcinemaissupposedtobelike,andhowitissupposedtofunction.Asarguedearlier,
theyseektorupturethenarrativestructurethattraditionalcinemareliesontocreatemeaning,
avoidingthesocalledAristotelianliteraryroute,whichappearstofosteraprivileged
rationalworldviewinwhichthevastcomplexitiesofexistencearereducibletoexplanations
groundedintheprincipleofsufficientreason,orthebeliefinthetruthofthelogicalchainof
causality.ThefilmsoftheSurrealistsareanalogicalrepresentationsofthewayinwhichthe
mindworkswhendreaming,afilmicrecordofthewayinwhichtheprimordialforcesofnature
movethroughus.RayandBuuelrecreateformallytheillogicalstructuralmechanismofthe
dreamwithintheirfilms,attemptingtoawakenthespectatorsunconsciouspsychical
processes,exposinghertoanewformofperceptualinsight,orpotentialknowledgeofthe
world,whichisaspeciesoftruththatisneitherformablenoruniversalinnature.Thewayin
whichthespectatorsunconsciousdrivesmanifest,thewayinwhichtheworldpresencesfor
theviewer,dependsgreatlyonpersonalexperience,andforthisreasontheirfilmsavoidtelling
astoryaboutwhatthedreamisabout:i.e.,representingexplicitlyanddefinitivelythecontent
ofthedreaminnarrative.Rather,theyfocusonrecreatingtheformalandstructural
characteristicsofthedreamwithintheirfilmsand,inthisway,thefilmsmeaning,orcontent,
emergeswithinthecontextofspectatorship,astheviewer(alongwithhis/herunconscious)
becomesanactiveparticipantinthecinematicexperience.

IfwerecallGoudalswordsaboutthenatureofthecinematicapparatus,withitsinherent
functiontoinstilbeliefintheimageryitproduces,andincludetothisnotiontheSurrealists
techniqueandeffectofidentificationdissociation,thepossibilityopensforcreatingnew
systemsofmeaninguniquetofilmthroughthereinterpretationofthewaysinwhichwe
process,orderandunderstandourexperienceswithintherealmofourstheticencounters.The
artisticfilmmakerholdsthepowertoaugmentthecinemaspotentialtoinfluencetheviewerby
artisticallymanipulatingthemediumwithcreativeandexperimentaltechniques,whichfurther
intensifythephenomenonofconscioushallucination.Aswehaveoutlined,theSurrealists
areworkingtodestructurethespectatorsconventionalunderstandingofthefilm,whichis
rootedinthecommercialideal,bymouldingtherawmaterialsofthefilm,controlling
stylisticallyhowthefilmlooksandstructuringthemannerinwhichitunfolds.

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Forexample,Buuelseekstoestablishthespectatorsidentificationwiththefilmicworldon
thescreen.DuetoBuuelsuseofclassicfilmmakingtechniquese.g.,opticalrealism,editing
forcontinuity,standardlighting,traditionalcameraanglesandshotframingthespectatoris
lulledintothefiction,forheportraysrealityonthescreeninafamiliarway.Then,inan
attempttobreakandthenforgenewpatternsofmeaning,hedisruptstheviewersidentification
withthefilminanunexpectedlyshockingmanner.RudolfE.Kuenzli,inDadaandSurrealist
Film,reasonsthatthistechniquetemporarilyarreststhemindsconventional(conscious)
patternsoflogicalorganization,openingthepossibilityofreorderingandrestructuringthese
patterns,whichoccurswiththeshockofthedissociationwhentheunconsciousdrivesare
liberated.Kuenzliwrites:

Onlythroughtheviewersidentificationwiththefamiliarworldinvokedbythefilmcan
thefilmssequentialdisruptionofthatinvokedfamiliarworldhavethepotentialtodisrupt
theviewerslogicsymbolicorderandopenupthesuppressedunconsciousdrivesand
obsessions.(23)

V. In Lieu of a Conclusion
Inhopesofclarifyingtheseeminglynebulous,mysteriousconceptofSurreality,thisessay
workedtoelucidateandinterpretBretonsthoughtsaboutSurrealismanditsconnectiontothe
cinema.Initsessence,Surrealityisaboutreexaminingandreawakeningtheneglected,
forgottenaspectsofexistence,thephenomenaoflifethatresistlogical,rationalexplanations,
andyetareundoubtedlytheverythingsthatgivelifeitsauthenticmeaning.Surreality,
accordingtoBreton,isanewformofunderstanding,auniqueformofvision,whichrevealsthe
worldinanewlighttheworldinitsessence!But,whatexactlyisthismetaphysically
chargedjargonreallysaying?Whatdoesitmeantotheartist?

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BretonwouldperhapsrespondtotheforegoingquerybystatingthatSurrealismspenetrating
viewofthingsholdsthepotentialtorevealthesocialorderasanedificeandartificeofhuman
construction,withthedisastrouspotentialofalienatingusfromtheverythingsthatmattermost
inlife,thosethingsofacreativenaturethatmakeourlivesworthlivingandcelebrating.
Accordingly,suchknowledgewouldusherinthepossibilityforamonumentalrevolutionary
reformofglobalproportions.Inotherwords,anartistmovement,inspiredbythetruthof
Surreality,wouldstrikeoutagainstsocietyinamovetosolvealltheproblemsoftheworld
byoverturningEuropessociopoliticalhegemony.

TodetailthemannerinwhichBretonandthegroupsoughttobringtheirtranscendental
materialismofdesiredowntoearthisbeyondthescopeofthiswork.Infact,thegroups
organizedpoliticalactivities:e.g.,theirbriefanderraticencounterwiththepoliticalphilosophy
ofKarlMarx,tookshapeafter1930,duringthesecondwaveofSurrealism,andnotatthe
timewhenRayandBuuelproducedtheirfirstfilms.However,theirfutureplansofrevolution
certainlyincludedthemodernmysteryofthecinema,fortheysawclearly,asearlyas1924,
thatthefilmindustrywasanexpressionofbourgeoissensibilitiesontheculturalplane.
BenjaminPeret,inthe1951essayAgainstCommercialFilm,expressespreciselyBretons
notionthatcommercialfilmisgroundedinthemercantileaspirationsofcapitalism:i.e.,
sordidmarketforces,producinganartthatanaesthetizedthepublic(24).Unfortunately,as
historytestifies,Surrealismdidnotdefeatthehegemonicbeastofmodernity,thechimeraof
logicalpositivism.Nevertheless,thereissomethingherefortheartistandherquestfor
meaningfulandautonomousexpression.

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TheSurrealists,unlikethenihilisticmembersofDADA,withtheirpenchantforjoyful
destructionandannihilation,soughttoresurrecttheartisticimaginationand,darewesay,
raiseimportantphilosophicalissues.Bretonsstatementaboutsolvingtheworldsproblems
extendsbeyondart,beyondtherealmofthepolitical.Hiswordstakeontheirmeaningwhen
lifeisconceivedintermsofpossibility.Perhaps,Surrealityisamindsetthatopensthe
individualtotheeverpresentpossibilityoftheworldmanifestinginamultiplicityofways,in
waysthatcannot,andneednot,beexplainedcategoricallyinlogicalterms.FerdinandAlquie,a
writerfortheformerSurrealistreview,Minotaure,statesthatbeyondthematerialenactmentof
apoliticalmovement,theirgreatestcontributiontoculture,theartsandhistorywereits
philosophicalideas,whichsprangfromthenondogmaticgroundoftheirart.

Theyviewedmanasinterrogation,manasquestion.Dogmatismgiveswaytothequestfor
being.Poetry,thoughitdeliversusfromtechnologicalnarrownessbyrevealinghowan
objectmaybeinvestedwithamultiplemeaningsitgivesevidenceforpositivismsfragility
andradicalpovertyoftheworldofphysicsdoesnotforallthatpretendtohandoverall
thekeystoopenallthedoorsforus.(25)

WithintheartofBretonandtheSurrealistsweencounterthesamecharacteristicsthatgreat
philosophersandthinkerspossess.Theirinvolvementwiththeplasticarts,poetryandfilm
grewfromadesireseetheworldbeyondsocialconventionandtheyhailedandembracedthe
cinemaasthemiraculousmediumwiththegreatestpotentialtoinspireandresurrectalost
(mythic)visionoftheworld.ThenotionofSurrealitywasultimatelygroundedinthe
awakeningofanewconsciousnessbywayoftheexperienceoftheexpandedsoulofthe
artistasphilosopher,broughtaboutmostpowerfullyandeffectivelythroughthemediumof
film,theseventhart.

Endnotes
1.FriedrichNietzsche,WilltoPower,translatedbWalterKaufmannandR.J.Hollingdale(NewYork:
Vintage,1963).CoinedbyNietzschewithinhislaterwork,transvaluationofvaluesreferstothehistorical
andartisticprojectofovercomingnihilism,whichentails:(1)embracingnewvalues,and(2)establishing
anentiresystemofvaluesbasedonthenotionofanincreasedpowerofthespiritaswilltopower.
Nietzsche,muchliketheSurrealists,embracestheforgottenaspectsofexistence:e.g.,Nietzschevalues

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thesensaterealmofthebody,theworldasaneverrenewedsourceofenergyandbecoming,andthe
potentialpowerofartistandarttobringhumanityincontactwiththeoriginoftheworldschaoticlife
force.Againstnihilism,Nietzscheproposesthecountermovement:Art.
2.AndrBreton,ManifestoesofSurrealism,translatedbyRichardSeaverandHelenR.Lane(AnnArbor,
Michigan:UniversityofMichiganPress,1972),p.26.Althoughhisremarksareplayfulandironic,itis
apparentthatBretonconceivessurrealismintermsofaphilosophicalartmovement.Forexample,the
passagewehavereferencedfunctionsasamockencyclopdiaentryinwhichSurrealismisintroduced
underthesubjectheading:Philosophy.
3.Ibid,p.24.
4.Ibid,p.14.
5.SigmundFreud,TheInterpretationofDreams,translatedbyJamesStrachey(NewYork:Avon,1998),p.
221.
6.InezHedges,ConstellatedVisions,inRudolfE.Kuenzli(Ed.),DadaandSurrealistFilm
(Massachusetts:MITPress,1996,reprint),p.101.
7.AlexanderRoub,AlchemyandMysticism(London:Jaschen,1996),p.117.
8.Hedges,p.110.ReferencingBretonsfictionalcharacter,Nadja,Hedgesoutlinesdialecticsupersession,
orsynthesis,inthefollowingmanner:LikeBretonsNadja,thewoman(UneFemme)ismeanstoanend,
astateofapprenticeshipforthevampiristicartistwhoendsupbyincorporatinghernarcissisticallyand
hencehasnofurtherneedforher.ThisisHedgesanalysisoftheclimacticmomentsofLtoiledeMer,
forwhichthisessayoffersanalternativeinterpretation.
9.FerdinandAlquie,ThePhilosophyofSurrealism(AnnArbor,Michigan:UniversityofMichiganPress,
1965),p.84.
10.Breton,p.32.Aristotle,Poetics,translatedbyMalcomHeath(London:Penguin,1996),pp.117.
11.AccordingtoAristotle,theplotofthedramamustpresentacoherentwhole,adeterminatestructure
withaclearlydelineatedbeginning,middleandending.Eventswithinthisstructureemergeanddevelop
logicallyoutofprecedingevents.Theparadigmaticplotshould,imitateasingleaction(story)andonethat
iswhole.InSection5.6,OnDefectivePlots,Aristotledescribesstorystructuresthatareleasteffectiveat
thepurgationofthepathe.Interestingly,thissectionaptlydescribesthetypeofdisjointedplotthatthe
Surrealistsfavour.
12.Freud,p.155.
13.JeanGoudal,SurrealismandCinema,inPaulHammond(Ed.),TheShadowanditsShadow(London:
BritishFilmInstitute,1978),p.89.
14.Ibid,p.89.
15.SandyFlittermanLewis,TheImageandtheSpark,inKuenzli,p.119.
16.Goudal,p.88.
17.Ibid,p.89.
18.RobertShort,TheAgeofGold(NewYork:CreationBooks,2003),p.26.
19.RogerLipsey,TheSpiritualinTwentiethCenturyArt(NewYork:Dover,1988),p.23.Analysingthe
artofWassilyKandinski,PaulKleeandPietMondrian,Lipseysuggeststhatthekeytointerpretingmodern
abstractartisnotfoundinthedogmaticinterpretationsoftheartwork,assuchtheoriesareshaped,forthe
mostpart,byourculturalpoliticalinstitutions.Rather,weunderstandabstractartwhenweunlockthe
analogicalforcesatworkwithinartandthelivesoftheartists.Lipseyattemptstorecoverthesymbol,
withitslegitimateabilitytoinspiremetaphysicalandspiritualtruthbydislocatingitfromitsassociation
withinideologyasatool,orrepresentation,ofpoliticaloppression.

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20.LuisBuuel,CinemaasInstrumentofPoetry,inHammond,p.115.
21.JeanPaulSartre,translatedbyHazelBarnes,BeingandNothingness,(NewYork:PhilosophyLibrary,
1956),p.366.Sartreclaimsthatwhenlookingatotherswefixthemasobjectsweareinturnfixedas
objectsastheylookback.Ashereasons,theOtherrepresentsathreattothesecurityofmyworld,forinthe
eyesoftheOtherIlosesomethingofmyfreedomandpersonality.TheapprehensionoftheOtherthus
representsanegativephenomenon.Thereisatremendoussenseofemotionalinstabilityassociatedwiththis
notion,associalconfrontationseemsinevitableasawayoflife.
22.ForadetailedandinterestingaccountoftheintersectionoflanguageandphysicalexpressioninUn
ChienAndalou,seeStuartLiebman,TheTalkingCure,inKuenzli,pp.14358.
23.Kuenzli,Introduction,inKuenzli,p.10.
24.BenjaminPeret,AgainstCommercialCinema,inHammond,p.59.
25.Alquie,p.122.

ABOUT THE AUTHOR


James. M. Magrini [HTTP://SENSESOFCINEMA.COM/AUTHOR/J-M-MAGRINI/]
JamesM.MagrinisworkhasappearedinBritainsPhilosophicalWritingsandonthewebin
othercinema.com[HTTP://WWW.OTHERCINEMA.COM].

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