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Surrealism has long been recognised as having made a major contribution to film theory and practice, and many contemporary film-makers acknowledge its influence. Most of the critical literature, however, focuses either on the 1920s or the work of Buuel. The aim of this book is to open up a broader picture of surrealism's contribution to the conceptualisation and making of film.Tracing the work of Luis Buuel, Jacques Prvert, Nelly Kaplan, Walerian Borowcyzk, Jan vankmajer, Raul Ruiz and Alejandro Jodorowsky, Surrealism and Cinema charts the history of surrealist film-making in both Europe and Hollywood from the 1920s to the present day. At once a critical introduction and a provocative re-evaluation, Surrealism and Cinema is essential reading for anyone interested in surrealist ideas and art and the history of film.
This book examines post-war surrealist cinema in relation to surrealism’s change in direction towards myth and magic following World War II. Intermedial and interdisciplinary, the book unites cinema studies with art history and the study of Western esotericism, closely engaging with a wide range of primary sources, including surrealist journals, art, exhibitions, and writings. Kristoffer Noheden looks to the Danish surrealist artist Wilhelm Freddie’s forays into the experimental short film, the French poet Benjamin Péret’s contribution to the documentary film L’Invention du monde, the Argentinean-born filmmaker Nelly Kaplan’s feature films, and the Czech animator Jan Svankmajer’s work in short and feature films. The book traces a continuous engagement with myth and magic throughout these films, uncovering a previously unknown strain of occult imagery in surrealist cinema. It broadens the scope of the study of not only surrealist cinema, but of surrealism across the art forms. Surrealism, Cinema, and the Search for a New Myth will appeal to film scholars, art historians, and those interested in the impact of occultism on modern culture, film, and the arts.
"An important contribution to film theory. . . . Williams has a fluid, assured style. She is clearly in command of the subject. She's made a strong and original argument for the psychoanalytic basis of Surrealism."--James Monaco, author of The New Wave
Critics from the UK, US, Australia, Canada and Japan discuss views on canonical surrealist works , and the role of surrealism in modern cinema, animation, digital cinema and documentary.
Surrealism and Film after 1945 is the first collection devoted to the vibrant culture of transnational surrealist cinema since the Second World War. Eleven chapters by leading and emerging scholars of surrealism and film studies establish the parameters of this history and situate surrealism as a major force in postwar cinema.
This groundbreaking collection of thirteen original essays analyzes connections between film and two highly influential twentieth-century movements.
Pan's Labyrinth, Stranger Than Fiction, The Science of Sleep ... Surreal and fantastic cinema is enjoying a resurgence. A movement that goes back to the earliest days of cinema, it provides an exemplary case study to introduce all sorts of concepts--auteur study, representations, 'shocking cinema', textual analysis. Neil Coombs's guide is ideal for students new to the field, providing an explanation of the origins of Surrealism followed by detailed analyses from the history of 'world cinema', including: Bu uel's The Phantom of Liberty, Svankmajer's Alice, Cocteau's Orph e, Lynch's Lost Highway, Jeunet and Caro's The City of Lost Children, and the work of screenwriter Charlie Kaufman (Being John Malkovich) and director David Cronenberg (A History of Violence).
Tracing the work of Luis Buänuel, Jacques Prâevert, Nelly Kaplan, Walerian Borowcyzk, Jan Svankmajer, Raul Ruiz and Alejandro Jodorowsky, this work charts the history of surrealist film-making in both Europe and Hollywood from the 1920s to 2005.