un chien de andalou - The film's disturbing imagery and...

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The film's disturbing imagery and transformation of narrative and continuity conventions help account for its appeal as a subject for critical scrutiny. The film does present something on the order of narrative, if elusively; continuity is sustained primarily through the recurrence of the same actor-characters. However the connection between events is decidedly ambiguous. Title cards running through the film undermine any sense of coherent organization by randomly changing the temporal order and standard of reference throughout the course of the film— "Once upon a time," "Eight years later," "Towards 3 a.m.," This level of narrative disorientation is supported by the film's visual construction, with its frequent use of point-of-view and continuity cutting to link ambiguously related spaces. Near the end of the film, the female character leaves an apartment which is presumably located on an upper floor of an urban building; a slight breeze blows through her hair; she smiles and waves at someone off-screen, and the next shot places her on a beach. (DISCONTINUITY) *This kind of illogical transition and unexpected conjunction is commonly associated with Surrealism. -->express the world of dreams, of emotions, of instinct. Freudian theories --- In some cases this has led to reading the film as a symbolic conglomeration in which each bizarre image or event stands for something else. The deciphering process leads to an understanding of the film's "hidden" meanings—usually construed as an attack on bourgeois modes of behaviour, an anti-religious diatribe, and/or a study of repressed sexual impulses. One of the key images here is that of the man, after he has been rebuffed by the woman, dragging the "baggage" of modern society with him, including two priests and two pianos surmounted by dead donkeys. By disrupting familiar patterns of spatial and narrative development. Un Chien andalou focuses attention on filmic processes of constructing and dismantling meaning. possible theme: It describes the dramatic collision between desire and the object of that desire in a context that literally bristles with pitfalls. unnamed man and woman --> ambiguity The chronology of the film is disjointed BUT plot corresponds to one and another **** seems to be jointed, but actually jointed --> nuance and binary*** -ants shown as people on street with detatched hand in middle --> people disperse just like ants do -touch breasts --> clothes gone --> clothes back on --> butt -guy riding bike --> another/same guy dragging piano ----> emphasizes how plot and events can be manipuated by changing perspectives --> easily morphed - guy grabs boobs --> takes by force because he cant have it --> corresponds to cutting of eyes (many imagined?) --> force
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This note was uploaded on 02/19/2009 for the course FILM R1a taught by Professor Staff during the Fall '08 term at University of California, Berkeley.

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un chien de andalou - The film's disturbing imagery and...

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