Reframing Reality : The Aesthetics of the Surrealist Object in French and Czech Cinema

Title Page; Copyright; Contents; Acknowledgements; Introduction; Chapter 1: Surrealist Objects and Cinema; The notion of the surrealist object; The hybrid object versus the surrealist object; cinema versus surrealism; Objects in surrealist cinema: Un Chien andalou; Chapter 2: Style and the Hybrid Object in À Nous la liberté; Style in À Nous la liberté; Object analysis; Chapter 3: The Everyday and the Hybrid Object in the Czech New Wave and Jan Švankmajer; The context of a cultural renewal; Czech surrealism from its beginnings to the 1960s. Marcel Duchamp's urinal re-named 'fountain' and placed in an art gallery. The classic image that can be seen as a duck or a rabbit, depending on how you look at it. A random object that grabs your attention and, like a Freudian slip, sums up whatever's on your mind. These are just a few examples of surrealist objects, items from everyday life that have something to tell us about the workings of the unconscious. In Reframing Reality, Alison Frank argues that the surrealist object offers a promising new way of understanding surrealism's legacy in cinema. Early studies of surrealist cinema restricted themselves to the handful of films that received official approval from the surrealist group. More recent studies have looked more broadly at films that explore the unconscious as a theme. Reframing Reality is the first to use the specifically surrealist concept of the surrealist object to trace the influence of surrealism in a broader range of films. When objects to do more than just advance the storyline, or have a mysterious meaning that is never fully explained, they are imitating the form of the surrealist object. Reframing Reality finds surrealist objects in films by Luis Buñuel and Jan Švankmajer, who acknowledged the importance of surrealism in their work, but also in the films of René Clair, Jean-Pierre Jeunet and the directors of the Czech New Wave, for whom surrealism was just one of many influences. By looking more closely at the role of objects in films, particularly those made during times of great change in the industry, we can gain a better understanding of both the legacy of surrealism in cinema and film language more generally. |The surrealist object is an everyday item that takes on multiple associations by provoking the viewer's imagination. It also poses a specific challenge for some filmmakers who seek to apply surrealist ideas and approaches when making feature-length narrative films. In Reframing Reality, Alison Frank looks specifically at French and Czech films, including works by Luis Buñuel, Jan Švankmajer, as well as the contemporary hit Amélie by Jean-Pierre Jeunet, in order to offer a new take on surrealist film.

Marcel Duchamp’s urinal re-named ‘fountain’ and placed in an art gallery. The classic image that can be seen as a duck or a rabbit, depending on how you look at it. A random object that grabs your attention and, like a Freudian slip, sums up whatever’s on your mind. These are just a few examples of surrealist objects, items from everyday life that have something to tell us about the workings of the unconscious. In Reframing Reality, Alison Frank argues that the surrealist object offers a promising new way of understanding surrealism’s legacy in cinema. Early studies of surrealist cinema restricted themselves to the handful of films that received official approval from the surrealist group. More recent studies have looked more broadly at films that explore the unconscious as a theme.

Reframing Reality is the first to use the specifically surrealist concept of the surrealist object to trace the influence of surrealism in a broader range of films. When objects to do more than just advance the storyline, or have a mysterious meaning that is never fully explained, they are imitating the form of the surrealist object. Reframing Reality finds surrealist objects in films by Luis Buñuel and Jan Švankmajer, who acknowledged the importance of surrealism in their work, but also in the films of René Clair, Jean-Pierre Jeunet and the directors of the Czech New Wave, for whom surrealism was just one of many influences. By looking more closely at the role of objects in films, particularly those made during times of great change in the industry, we can gain a better understanding of both the legacy of surrealism in cinema and film language more generally.

This Title Looks At A Broad Range Of Films (french And Czech, Ten Different Directors, 1930s, 60s And Contemporary). The Films Are Both Artistic And Popular. It Uses Surrealism In A New Way, As A Tool To Analyse Film. It Does Not Only Look At French Surrealism, But Also Highlights The Importance Of Czech Surrealism, Less Familiar To English-language Readers. It Analyses Films Rigorously And In Detail, But Maintains Readability With An Engaging Tone, Aiming To Convey The Playful Spirit Of The Films In Question. The Surrealist Object Is An Everyday Item That Takes On Multiple Associations By Provoking The Viewer's Imagination. It Also Poses A Specific Challenge For Filmmakers Who Seek To Apply Surrealist Ideas And Approaches When Making Feature-length Narrative Films. In This Book, Alison Frank Looks Specifically At French And Czech Films, Including Works By Luis Bunuel And Jan Svankmajer, As Well As The Contemporary Hit 'amelie' By Jean-pierre Jeunet, In Order To Offer A New Take On Surrealist Film. Chapter 1. Surrealist Objects And Cinema -- Chapter 2. Style And The Hybrid Object In À Nous La Liberté -- Chapter 3. The Everyday And The Hybrid Object In The Czech New Wave And Jan Svankmajer -- Chapter 4. Genre And The Hybrid Object In Late Buñuel -- Chapter 5. Media Objects In Le Fabuleux Destin D'amélie Poulain. Alison Frank. Includes Bibliographical References And Index. Title Page Copyright Contents Acknowledgements Introduction Chapter 1: Surrealist Objects and Cinema The notion of the surrealist object The hybrid object versus the surrealist object cinema versus surrealism Objects in surrealist cinema: Un Chien andalou Chapter 2: Style and the Hybrid Object in À Nous la liberté Style in À Nous la liberté Object analysis Chapter 3: The Everyday and the Hybrid Object in the Czech New Wave and Jan Švankmajer The context of a cultural renewal Czech surrealism from its beginnings to the 1960s. Common concerns of Czech surrealism and the Czech New WaveHybrid objects and the Czech New Wave Hybrid objects and Jan Švankmajer's short films of the 1960s Chapter 4: Genre and the Hybrid Object in Late Buñuel Generic hybridity and subjectivity in the 1930s and 60s Le Charme discret de la bourgeoisie Belle de Jour Cet obscur objet du désir Chapter 5: Media Objects in Le Fabuleux destin d'Amélie Poulain Jean-Pierre Jeunet and René Clair Cinéma du look Postmodernism Media of expression and communication as objects Conclusion Bibliography Index Back Page.