Difference between revisions of "JCM312/The Avant-Garde (Discussion)"
From Screenpedia
Jump to navigationJump to searchScreenAdmin (talk | contribs) m (18 revisions imported) |
|||
Line 1: | Line 1: | ||
− | + | <gallery mode="packed" heights=200px> | |
+ | File:TreasonOfImagesShadow.jpg|alt=René Magritte's ''The Treason of Images'' (1928-9).|René Magritte's ''The Treason of Images'' (1928-9). | ||
+ | </gallery> | ||
#'''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 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 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? |
Revision as of 23:34, 22 August 2019
- 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?
- Group 1 and 6: Entr'Acte (Clair, 1924)
- Groups 2 and 5: Un Chien Andalou (Buñuel/Dalí, 1928)
- Groups 3 and 4: 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.