Difference between revisions of "JCM312/The Avant-Garde (Discussion)"
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| − | [[Image:TreasonOfImagesShadow.jpg|thumb|200px|right|René Magritte's ''The Treason of Images'' (1928-9).]]#Why were surrealists obsessed with dreams and the insane? What does Robert Hughes mean when he characterizes "neurosis" as "the permanent involuntary form of dreams"? | + | [[Image:TreasonOfImagesShadow.jpg|thumb|200px|right|René Magritte's ''The Treason of Images'' (1928-9).]]#'''Group 1:''' Why were surrealists obsessed with dreams and the insane? What does Robert Hughes mean when he characterizes "neurosis" as "the permanent involuntary form of dreams"? |
| − | #René Magritte's ''The Treason of Images'' (1928-9) contains the phrase, "Ceci n'est pas une pipe" ("This is not a pipe"). What does Hughes feel is the significance of this phrase? | + | #'''Group 2:''' René Magritte's ''The Treason of Images'' (1928-9) contains the phrase, "Ceci n'est pas une pipe" ("This is not a pipe"). What does Hughes feel is the significance of this phrase? |
| − | #How does Hughes characterize the surrealist use of sexuality? | + | #'''Group 3:''' How does Hughes characterize the surrealist use of sexuality? |
| − | #What elements of surrealism do you see in the films we viewed in class: | + | #'''Group 4:''' What previously dismissed forms of art (what Hughes calls, "kinds of expression") did surrealists advocate for? Why? |
| + | #'''All groups:''' What elements of surrealism do you see in the films we viewed in class: | ||
#*''Entr'Acte'' (Clair, 1924) | #*''Entr'Acte'' (Clair, 1924) | ||
#*''Charleston'' (Renoir, 1927) | #*''Charleston'' (Renoir, 1927) | ||
| Line 8: | Line 9: | ||
#*''Zero for Conduct'' (Vigo, 1933) | #*''Zero for Conduct'' (Vigo, 1933) | ||
#How do Bordwell and Thompson characterize the main principles of surrealist film? | #How do Bordwell and Thompson characterize the main principles of surrealist film? | ||
| − | + | #Hughes maintains that "The [surrealist] object was collage in three dimensions" (p. 241). What do you think he means by this? (Meret Oppenheim's ''Luncheon in Fur'' is one example.) René Magritte's ''The Treason of Images'' (1928-9). | |
| − | #Hughes maintains that "The [surrealist] object was collage in three dimensions" (p. 241). What do you | ||
| − | think he means by this? (Meret Oppenheim's Luncheon in Fur is one example.) René Magritte's ''The Treason of Images'' (1928-9). | ||
==Bibliography== | ==Bibliography== | ||
Revision as of 14:45, 16 September 2008
#Group 1: Why were surrealists obsessed with dreams and the insane? What does Robert Hughes mean when he characterizes "neurosis" as "the permanent involuntary form of dreams"?
- Group 2: René Magritte's The Treason of Images (1928-9) contains the phrase, "Ceci n'est pas une pipe" ("This is not a pipe"). What does Hughes feel is the significance of this phrase?
- Group 3: How does Hughes characterize the surrealist use of sexuality?
- Group 4: What previously dismissed forms of art (what Hughes calls, "kinds of expression") did surrealists advocate for? Why?
- All groups: What elements of surrealism do you see in the films we viewed in class:
- Entr'Acte (Clair, 1924)
- Charleston (Renoir, 1927)
- Un Chien Andalou (Buñuel/Dalí, 1928)
- Zero for Conduct (Vigo, 1933)
- How do Bordwell and Thompson characterize the main principles of surrealist film?
- Hughes maintains that "The [surrealist] object was collage in three dimensions" (p. 241). What do you think he means by this? (Meret Oppenheim's Luncheon in Fur is one example.) René Magritte's The Treason of Images (1928-9).
Bibliography
- Hughes, Robert. The Shock of the New. NY: Alfred A. Knopf, 1980.
