Surrealism In Un Chien Andalou

3. Metropolis (Fritz Lang, 1927) Metropolis is an important example of German Expressionism and of early science fiction. A great inquiry on future of humanity, a critique of society, a prominent dystopian film. Fritz Lang’s remarkable work has dazzlingly designed sets, costumes and unpredictable characters.

The film uses Julian Schnabel’s art as a substitute to Basquiat’s very well. I am familiar with Basquiat’s work in my prior experiences and it reflected his style very well. His very famous “scull” was seen in the film and it resembled

Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.

This essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument. A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday

Tim O’Brien’s writing, in the book, The Things They Carried, reflects the surreal nature of war. Tim O’Brien uses surrealism in almost every chapter in the book. Surrealism is like something that happens but it seems like whatever happens cannot be true, like something almost bizarre that happens. In the chapter, “How to Tell a True War Story”, Tim O’Brien uses surrealism in about all of the stories in the chapter, but there was one story that stuck out from the rest.

The film stands apart from Hsien's previous filmography, equally in themes and technique. For the first time he examined the lives of young individuals in the contemporary

Task 1 1. Sidney Nolan 2. Sidney Nolan painted pictures using the surrealist art style. 3. Sidney Nolan mostly painted picture on canvas in acrylic paints.

In “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and

Film takes photography to another level. Film, or the cinema “is objectivity in time.” For the first time with film “the image of things is likewise the image of their duration, change mummified as it were”. Bazin argues "only the impassive lens, stripping its object of all those ways of seeing it, those piled- up preconceptions, that spiritual dust and grime with which my eyes have covered it, are able to present it in all its virginal purity to my attention and consequently to my love.

One of the first animated feature films, one must proclaim that it is a brilliant feature, a wonderful film full of charming comedy, lyrical romance, vigorous and exciting battles, eerie magic, and truly sinister, frightening evil. The double-tale of Prince Achmed and Aladdin battling mythical demons and finding love is presented in the silhouette, Chinese shadow plays tradition with a plot that is a pastiche of stories from One Thousand and One

Soh Wan Qing U1430464B Mr William Phuan CS8119: Cinematography in Birdman (2014)

German Expressionism has influenced thousands of films and filmmakers since the art movement began in the 1920’s. It is known for its dismissal of the standard conventions of Western filmmaking for a more off-kilter style of storytelling. Some film historians consider Metropolis (1927) to be one of the most groundbreaking German Expressionist films ever made. However, there are many instances throughout Metropolis in which it deviates from the eccentric Expressionist style. There are many obvious occurrences of expressionism during Metropolis, for example the opening machine sequence, but conventional Western techniques are also common in the film.

The Surrealist movement first appeared in the early 1920s, and has shaped the course of art history significantly. The goal that many Surrealists share is to “resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality.” In other words, the purpose of Surrealism is to portray the imagination by revealing ideas and images from the unconscious mind. The movement occurred just after World War One, when many people were still coping with the grief and devastation that the war had brought. Many European countries were severely affected by the war as many economies were suffering a Depression. During this time, the Surrealists focused their energy on escaping from the devastation that surrounded

Breathless, originally titled ‘À bout de souffle’, made in 1960 is a movie about a small-time thief who steals a car and murders a policeman. The story is about authorities chasing him while he reunites with an American journalist and attempts to persuade her to run away with him to Italy. Jean-Luc Godard, the director of the movie often quotes, ‘To make a film, all you need is a girl and a gun.’, which is probably the inspiration behind this movie. Breathless was one of the movies that kicked off the French New Wave. Like several of his French New Wave members, Jean-Luc Godard started as a film critic, and wrote for the magazine ‘Cahiers du Cinema’ in the 1950s, when he was in his early 20s.

The screenplay was written by Stanley Kubrick and is based on anthony Burgess’s book the clockwork orange. The structure of the film is divided into three different layers. The first layer introduces the audience to Alex and his need for violent debauchery,to a converted brainwashed man,and its ends with the audience asking the question if Alex changed or returned to being violent again. The film mainly relies on narration as it is told through the perspective of Alex. The dialogue is strange as it is made up of Nadsat with introduces old and new linguistic which is hard to follow.