فصل الطليعيون ، السريالية ١-a .. كتاب فهم السينما

Surrealism

Most of the early Dadaists were also prominent in the surrealist movement that developed in the mid-1920s and flourished at the end of the decade (9-11). These include a love of the absurd, a rejection of traditional "civilized" values, and an aversion to discipline and good taste. Surrealism, like Dada, included painters and writers in addition to filmmakers. Perhaps the central figure in the new movement was André Breton, a psychologist and poet who issued the “Surreal Manifesto” (post-realism in 1924).

Surrealism differed from Dada in its tone as well as its content and techniques. Surrealism was more 'consciously artistic' with a new emphasis on mystery, anxiety and paranoia. Humor was also different. Instead of the playful fanfare of Dada with its sense of humor and irresponsibility was comedy Surrealism tends to the grotesque and the grotesque. Much of the wit in these films is described today as "black comedy" because the emphasis is on sick and grotesque jokes. Spaniards Lui Buñuel and Salvador Dali presented terrifying scenes of humor.

The Surrealists were partly influenced by Marxism and were more serious and organized in their rebellion. They viewed bourgeois values ​​not only as absurd but also as dangerous and oppressive. The chaos of Dada has been somewhat replaced by a new left-wing political trend that resulted in a more open attack on capitalism and all the social systems that they considered reactionary, especially the Catholic Church. This Marxist tendency in the thirties became much larger, especially in Buñuel's work.
Perhaps the great influence on surrealism was from Freud, whose ideas gained popularity in the intellectual circles of that period. Freud's theory of the unconscious mind and its preoccupation with dreams as a mirror of existence in a language of its own, with an emphasis on sexual symbolism, had a profound impact on these filmmakers. They believed that by digging the springs of the subconscious, they could reveal a more real reality, a reality that ultimately controls all our external conscious behavior. (9- 12) Therefore, the Surrealists preferred to explore pathological cases, functional and structural change as a result of disease, not natural states, and dreams and nightmares, not waking states. Many of these artists were obsessed with neuroticism, hysteria, and madness.
Activity is activity. The Surrealists were very interested in spontaneous actions, whether in primitive art, drunkenness, children's games, fantasies or deviant social behaviour. They also introduced the principle of free association which was the base of the literary style known as the Channel of Consciousness in many surrealist films. Cinema is the typical medium for communicating the strange precision of dreams according to the surrealists. And most of them agreed with Salvador Dali that art is a tangible implausibility.

In general, the Surrealists were less technical than the Dadaists. Surrealism is more realistic - only in a relative sense, less dependent on fleeting photographic distortions and emphasizes the sense of directionlessness in the mise-en-scenes. The assets are cut out of their natural context and placed in surprisingly arbitrary locations. In the movie (Andalusian Dog), for example, Buñuel and Dali put a dead donkey on top of a piano .