At its core, it really is intimate given that it believes in love with its mysteries. - Milos Stehlik on surrealismAfter presenting the origins of surrealist cinema, Stehlik dove into some films highlighting the variety and influence of surrealism on cinema. First, he revealed guy Ray’s (1926), which features solarized imagery developed by putting objects right on movie stock and then revealing it to light. (1928), possibly the most well-known surrealist film, ended up being shown after that. This classic by Luis Bunuel and Salvador Dali had been prompted by aspirations both guys had and desired to provide life on display screen. Stehlik even shared exactly how on premiere of Un Chien Andalou, Bunuel had a little pile of stones in his pocket ready to throw in the crowd if they expanded mad within the film’s atypical narrative and grotesque imagery. Thankfully, that didn't take place because of it had been well-received.
however from Emak BakiaExiled from Spain twice, Bunuel moved back to France in 1960′s in which he made the commercially effective (1967). Stehlik’s 3rd clip featured a scene out of this film showing the lead personality’s masochistic fantasy for which this woman is shot and tangled up, simply to be conserved by her husband’s kisses.A clip from Alejandro Jodorowsky’s cult classic (1970) had been shown next. It combined physical violence, comedy and religion into a bizarre allegorical western that became a midnight favorite for moviegoers. Then, Stehlik revealed a haunting quick from Raoul Servais incorporating live-action and stop-motion animation – (1979). Alongside a clip from one of Roman Polanski’s first movies, unwanted fat and Lean (1961), Stehlik described a few of the key elements of surrealism: a shortened sense of time, a terrifying landscape, therefore the insecurity your primary personality won’t survive or cope. Like daydreams, these films fold the real guidelines of the time and room while rejecting narrative guidelines of cinema and writing.
the harpy in HarpyaEventually, Stehlik explored clips from newer work including Jan Svankmajer’s (1996) and David Lynch’s (1986). Those two films function surreal, nearly nightmarish tales that depict numerous sensations and perceptions of pleasure – a popular subject among surrealists due to the impact of Freudian psychology. Finally, as Stehlik emphasized, today’s surreal movies wouldn’t exist with no work of early surrealists. Ranging from the job of Terry Gilliam to recently introduced Snowpiercer (2013), surrealist cinema’s impact, whether subtly or dramatic, can now be seen in all types of news.
Stehlik sealed the lecture with admiration for surrealism, dubbing it “the romantic activity of twentieth century” due to the focus on “love, freedom, and poetry.” Like goals, surrealism is odd, nightmarish, and illogical…yet, it is stunning and liberating all at exactly the same time.Author: Gina Marie Ezzone is a senior at Denison University where she studies Cinema and Queer Studies. She is the president of Denison Film community where she works as a programmer and projectionist. Come early july she is the Programs Assistant Intern at Facets. Browse her run Vimeo.