Difference between pages "File:LadyBirdqq00 01 20qq00004.jpg" and "JCM312/The Avant-Garde (Discussion)"

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(Jeremy Butler uploaded File:LadyBirdqq00 01 20qq00004.jpg)
 
 
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Screenshot from ''Lady Bird''.
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<gallery mode="packed" heights=200px>
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File:TreasonOfImagesShadow.jpg|alt=René Magritte's ''The Treason of Images'' (1928-9).|René Magritte's ''The Treason of Images'' (1928-9).
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</gallery>
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#'''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"?
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#'''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?
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#'''Group 3:''' How does Hughes characterize the surrealist use of sexuality?
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#'''Group 4:''' What previously dismissed forms of art (what Hughes calls, "kinds of expression") did surrealists advocate for? Why?
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#What elements of surrealism do you see in these films? Cite ''specific'' elements from the film.
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#*'''Groups 1 and 5:''' ''Entr'Acte'' (Clair, 1924)
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#*'''Groups 2 and 4:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928)
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#*'''Groups 3:''' ''Zero for Conduct'' (Vigo, 1933)
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#'''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.)
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==Bibliography==
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*Hughes, Robert. ''The Shock of the New''. NY: Alfred A. Knopf, 1980.
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==External links==
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*[https://tvcrit.org/Classes/Jbutler/T340/SurrealismLecture.php Dada & Surrealism Illustrations]
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*[https://vimeo.com/359677374 ''Entr'Acte'']
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*[https://vimeo.com/347838506 ''Un Chien Andalou'']
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**[https://tvcrit.org/Classes/Jbutler/T340/SurrealismUnChienAndalou.php Screenshots.]
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[[Category:JCM312 Discussion]]

Revision as of 21:53, 16 September 2019

  1. 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"?
  2. 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?
  3. Group 3: How does Hughes characterize the surrealist use of sexuality?
  4. Group 4: What previously dismissed forms of art (what Hughes calls, "kinds of expression") did surrealists advocate for? Why?
  5. 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)
  6. 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.

External links

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