Difference between revisions of "JCM312/The Avant-Garde (Discussion)"

Revision as of 14:25, 19 September 2017

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"?
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?
What elements of surrealism do you see in these films?
- Group 1: Entr'Acte (Clair, 1924)
- Groups 2: Un Chien Andalou (Buñuel/Dalí, 1928)
- Groups 3 and 4: Zero for Conduct (Vigo, 1933)
All groups: 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.)

@@ Line 4: / Line 4: @@
 #'''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?
-#'''Group 5:''' 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.)
 #What elements of surrealism do you see in these films?
 #*'''Group 1:''' ''Entr'Acte'' (Clair, 1924)
-#*'''Groups 2 and 5:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928)
+#*'''Groups 2:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928)
 #*'''Groups 3 and 4:''' ''Zero for Conduct'' (Vigo, 1933)
+#'''All groups:''' 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.)
 ==Bibliography==