فصل الطليعيون ، السريالية ٢-a .. كتاب فهم السينما

(13,9) Nothing is clear or justified and the viewer is left alone to try to find “reasons” for these abnormal events and shows. The Surrealists exulted at the strangeness for its own sake and often laughed at the embarrassing illustrations in their works (9-14). Buniwell and Daly unnaturally “explain” that nothing in this film stands for anything — which, of course, does not include a dog or “ Andalusian or something.

This hostility to analysis and elucidation is characteristic of all surrealists, who believed that most critics were too polite, and who took care that his illustrations destroyed all the formal complexities of language—the language that represents the most analytical and rational means of understanding. In fact, many avant-garde artists still retain this prejudice against words, and a significant number of them tend to view imagery as superior to language in its emotional impact. The medium of film criticism, of course, is not a visual medium and for this reason avant-garde artists believe that film critics do not speak the same language as they do. At best these filmmakers tend to believe that the art historian is probably more sensitive to his work than the film critic who, they claim, is more oriented towards literature and theater.

Indeed, surrealist films are precisely symbol-intensive, yet many of the images defy careful analysis. The ambiguity and fullness of these images are often reduced to a set of 'naïve Freudian' illustrations. It is this downward trend” that the Surrealists rightly despised. Most of the scenes in these films are intended to shake the viewer on an initial low level (159). In the movie Kalb (Andalusian, for example, the eye of a woman is explained with a straight razor, which Buñuel himself does. The image performs its function at the level of a primitive attack - it is an attack on the audience in addition to being an attack on the woman. I have put forward several interpretations of this scene, but they all seem insufficient when compared With the nervous effect of the scene itself.
Once. The Surrealists never forgot the legacy of Dada, nor did they lose the ability to stir public discontent. The Age of Gold - directed by Buñuel and Daly partially contributed to the script - created a lot of buzz when the film finally premiered and most copies were damaged. The film is a medley of Marx and Freud as it attacks the church and organized society. A promiscuous sexuality inspired by Marquis Sad in his book (120 Days in Sodom), and the master appears to us who enjoys this sex for everyone and is the center of seduction, so he is Christ himself.

Perhaps the greatest surrealist in the film industry was Jean Cocteau, who always claimed - apparently due to personal differences - that he was not a surrealist director. Cocteau was also distinguished by his talent as a painter, poet, critic, playwright and novelist. Cocteau did not strictly divide his activities. For him, all artists are “poets, whether they write with words, with sound, or with images. We must not underestimate one art for the sake of another Cocteau felt every kind It is a poetic expression that has its own specificity. The film poet, for example, is simply the one who writes with a light ink. He believed that the cinema is a vehicle of the first class to carry ideas and allow the poet director to accompany the viewer to worlds that no one has led him to except dreams and sleep.

Cocteau was always deceptively realistic about his films. Like other surrealists, Cocteau hated deceptive romanticism and always claimed to be a "realist". In fact, Cocteau described his first film (Blood) (Poet) as “documentary scenes from another world.” Of course, “Reality for Cocteau, as for other surrealists, is not like the realism we find on a street corner. Cocteau was interested in the inner realities - the limits of the soul and the spirit, especially the artist. His lofty trilogy "Orpheus", which consists of his films "Blood of a Poet - 1930", "Orpheus 1950" and "The Testimony of Orpheus - 1960", is a spraguar of the unknowns of poetic creation: what is the poet and how does he create? What does he create and what do his creatures make for him?

Cocteau claimed) We touch the unknown, the more important it becomes real, the aesthetics of cinema depend on photography, and what can be photographed, it (exists) at least in some form. Thus, if we deal with one of Cocteau's repeated film images: If the poet enters a mirror, we cannot deny what (we saw). What is meant here, of course, is the literal expression of the metaphor. A detailed verbal explanation of the scene may be a poetic creation, like entering a mirror. Or, if we turn the analogy into a metaphor for poetic creation, it is entering a mirror.” In a moody dialogue address from the movie (Blood) (The Poet), a statue of the poet says to walk in the mirror. The poet protests, but one cannot enter into the mirror. The statue answers dryly, “I congratulate you. You wrote that a person can enter mirrors and you did not believe that, after which the poet enters in the mirror to another world..

Many of Cocteau's finest influences are embodied metaphors. It was carried out from a technical point of view by means of photography tricks, for example, a woman's shot was achieved by applying a machine Shooting on its side and making the floor look like a wall and the wall like the floor. Then a beaker was placed in which a liquid reflects the light on the ground, so the edges of the beaker suggested that it was the frame of the mirror. Many furniture and accessories (chairs, etc.) were nailed to the wall above the beaker. When the actor sank into the reflective surface of the liquid from the top, it appeared that he was entering the mirror, after showing the film by making the right side up. real) always according to Cocteau's sense, not a smooth world or another - and with

confused or irritable.

It is so huge that it isolated it from the first event, dealing with the poet's scars or wounds, his loneliness, and his isolation. He lives the life of his own creatures, which acquire a life of their own. Cocteau stated that the poet's work hates and devours the poet's soul, and there is no place for the poet and his work together. The work benefits the poet. The poet gets up to discover what is on his hand. The mouth is like a wound, it shrinks at first from strangeness, but gradually his admiration increases when he rubs his hand against a statue. The wound disappears and the statue comes to life. In retaliation, the statue sends him through the mirror to a terrible world of experiences, the world of artistic creation, where the poet explores his childhood memories, fantasies and fears. Inside this mirror he finds Himself in a long inn corridor with many doors. He looks through a series of holes and sees, among many things, a girl floating on the roof of the room. After many strange and painful experiences, the poet shoots himself at the altar.

The scene shifts to a square on a gray winter's day. The poet is now a statue on the pedestal of some unemotional students and starts a snowball fight. The sounds mix with a heartbeat, and now we see the poet's collars fluttering with his frightened heartbeat..The poet calls himself with Again, this time he falls on a table covered in snow. When his blood explodes there is a cut to a booth in a theater where we find people in modern clothes applauding. The poet's pain gives pleasure to others. And so the movie goes on in a series of

Influential pictures.

In (Orpheus) the gates of hell are guarded by galleys with their motorcycles, and members of the court are bureaucrats in modern clothes. Orpheus receives messages in cipher from Hell by radio. In Testimony (Orpheus) Cocteau shows himself as the “author” and thus splits himself in two by having the author comment on the poet and vice versa( 9 ,16) In this film, his last, Cocteau pulls out all the pauses, uses written language and his illustrations Fine photographs taken by himself, slow motion scenes, double exposure and montages Reversed motion and trick shots abound. His personal friends include Pablo Picasso as a kind of testimony. Cocteau addresses the camera. Other characters admit that they represent in a movie strange horses that walk as if they were dreaming, human statues with eyes drawn on their eyelids that see them as living dead in a clever court scene. Cocteau criticizes even himself by exposing the “author” and its importance to himself and poets in general. The description of Cocteau's images almost reduces them to ordinary objects and empties them of their magic and mystery. His great visuals defy description, let alone explanation, even after several observations.