By Elza Adamowicz
In 1929 Dali and Bunuel produced a seventeen-minute movie Un chien andalou. On its first screening, Georges Bataille said it as "that notable movie … penetrating so deeply into horror." Its script is expounded to be in accordance with dream photographs - a woman's eye slit via a razor, ants rising from a gap in a man's hand, and the movie stunned audiences. It keeps to fascinate, impress, allure and alienate its audience - and to steer filmmakers.Elza Adamowicz's lucid severe advisor to this so much enigmatic of works takes new methods to the movie. It experiences, for instance, its openness to such a lot of readings and interpretations; it reassesses Dali and Bunuel's account of the movie as a version surrealist paintings and its reception by way of the surrealist workforce, and examines either the unresolved tensions in the movie itself and the function of the viewer, as detective or dreamer?
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Extra resources for Un Chien Andalou: French Film Guide (Cine-Files: the French Film Guides)
However, there are conflicting accounts of their first meetings with the group. Buñuel first met Louis Aragon and Man Ray, but was he introduced by Christian Zervos or the artist Fernand Léger? Was the first meeting at the café La Coupole or Le Dôme? Did Buñuel meet the surrealist group at the café Cyrano on Place Pigalle before the opening night of the film? Did André Breton, leader of the surrealist group, summon Buñuel and Dalí to the café Radio in Boulevard Clichy, after seeing the film at Studio 28 in October?
While a number of critics have integrated the apparently disjunctive elements into an overarching narrative, notably through psychological or psychoanalytical interpretations, this chapter will argue that the film is made up of two distinct, heterogeneous temporalities, 32 UN CHIEN ANDALOU and that narrative and non-narrative elements are in a dialectic relation, held in tension and resisting integration into a single storyline or a totalizing interpretation. Classic film narrative subverted Un chien andalou both adopts and subverts the narrative conventions of 1920s’ cinema.
Many years later, in his memoirs, he noted the profound effect of Surrealism on his later work: I treasure that access to the depths of the self which I so yearned for, that call to the irrational, to the impulses that spring from the dark side of the soul. It was the surrealists who first launched this appeal with a sustained force and courage, with insolence and playfulness and an obstinate dedication to fight everything repressive in conventional wisdom. (Buñuel 1984: 123) Dalí and Buñuel both continued to promote scandal and revolution, principles which were at the core of surrealist theory and practice.