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

From Screenpedia
Jump to navigationJump to search
(reordered gruops)
(added group 5)
Line 4: Line 4:
 
#'''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?
 +
#'''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?
 
#What elements of surrealism do you see in these films?
 
#*'''Group 1:''' ''Entr'Acte'' (Clair, 1924)
 
#*'''Group 1:''' ''Entr'Acte'' (Clair, 1924)
#*'''Group 2:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928)
+
#*'''Groups 2 and 5:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928)
 
#*'''Groups 3 and 4:''' ''Zero for Conduct'' (Vigo, 1933)
 
#*'''Groups 3 and 4:''' ''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==
 
==Bibliography==

Revision as of 17:32, 12 September 2016

René Magritte's The Treason of Images (1928-9).
  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. 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.)
  6. 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 3 and 4: Zero for Conduct (Vigo, 1933)

Bibliography

  • Hughes, Robert. The Shock of the New. NY: Alfred A. Knopf, 1980.

External links