Difference between revisions of "JCM312/The Avant-Garde (Discussion)"
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#*'''Group 3:''' ''Entr'Acte'' (Clair, 1924) | #*'''Group 3:''' ''Entr'Acte'' (Clair, 1924) | ||
#*'''Group 4:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928) | #*'''Group 4:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928) | ||
− | #* | + | #*'''Groups 1 and 2:''' ''Zero for Conduct'' (Vigo, 1933) |
#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.) | #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.) | ||
Revision as of 14:05, 17 September 2013
- Group 3: 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 4: 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 1: How does Hughes characterize the surrealist use of sexuality?
- Group 2: 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 3: Entr'Acte (Clair, 1924)
- Group 4: Un Chien Andalou (Buñuel/Dalí, 1928)
- Groups 1 and 2: Zero for Conduct (Vigo, 1933)
- 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.