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| − | <gallery mode="packed" heights=200px>
| + | == Summary == |
| − | File:TreasonOfImagesShadow.jpg|alt=René Magritte's ''The Treason of Images'' (1928-9).|René Magritte's ''The Treason of Images'' (1928-9).
| + | ''Television Style'', table 5.3 "Multiple-camera and Single-camera Schemas," part 3. |
| − | </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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| − | [[Category:JCM312 Discussion]]
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