Difference between revisions of "JCM312/The Avant-Garde (Discussion)"
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#'''Group 3:''' How does Hughes characterize the surrealist use of sexuality? | #'''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 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: | + | #'''All groups:''' What elements of surrealism do you see in the films we viewed in class? Identify at least one surrealist element in: |
#*''Entr'Acte'' (Clair, 1924) | #*''Entr'Acte'' (Clair, 1924) | ||
#*''Charleston'' (Renoir, 1927) | #*''Charleston'' (Renoir, 1927) |
Revision as of 14:47, 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? Identify at least one surrealist element in:
- 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.)
Bibliography
- Hughes, Robert. The Shock of the New. NY: Alfred A. Knopf, 1980.