Difference between revisions of "JCM312/The Avant-Garde (Discussion)"
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| − | + | <gallery mode="packed" heights=200px> | |
| − | #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"? | + | File:TreasonOfImagesShadow.jpg|alt=René Magritte's ''The Treason of Images'' (1928-9).|René Magritte's ''The Treason of Images'' (1928-9). |
| − | #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? | + | </gallery> |
| − | #How does Hughes characterize the surrealist use of sexuality? | + | #'''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"? |
| − | #What previously dismissed forms of art (what Hughes calls, "kinds of expression") did surrealists advocate for? Why? | + | #'''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? |
| − | #What elements of surrealism do you see in | + | #'''Group 3:''' How does Hughes characterize the surrealist use of sexuality? |
| − | #*''Entr'Acte'' (Clair, 1924) | + | #'''Group 4:''' What previously dismissed forms of art (what Hughes calls, "kinds of expression") did surrealists advocate for? Why? |
| − | #*''Un Chien Andalou'' (Buñuel/Dalí, 1928) | + | #What elements of surrealism do you see in these films? Cite ''specific'' elements from the film. |
| − | #*''Zero for Conduct'' (Vigo, 1933) | + | #*'''Groups 1 and 5:''' ''Entr'Acte'' (Clair, 1924) |
| − | # | + | #*'''Groups 2 and 4:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928) |
| − | + | #*'''Groups 3:''' ''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== | ==Bibliography== | ||
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==External links== | ==External links== | ||
| − | *[ | + | *[https://tvcrit.org/Classes/Jbutler/T340/SurrealismLecture.php Dada & Surrealism Illustrations] |
| + | *[https://vimeo.com/359677374 ''Entr'Acte''] | ||
| + | *[https://vimeo.com/347838506 ''Un Chien Andalou''] | ||
| + | **[https://tvcrit.org/Classes/Jbutler/T340/SurrealismUnChienAndalou.php Screenshots.] | ||
| + | *[https://archive.org/details/zero_de_conduite ''Zero for Conduct''] | ||
| − | [[Category: | + | [[Category:JCM312 Discussion]] |
Latest revision as of 15:01, 17 September 2019
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? Cite specific elements from the film.
- Groups 1 and 5: Entr'Acte (Clair, 1924)
- Groups 2 and 4: Un Chien Andalou (Buñuel/Dalí, 1928)
- Groups 3: 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
- Hughes, Robert. The Shock of the New. NY: Alfred A. Knopf, 1980.
