surrealism in film

Length: 5 Pages 1224 Words

Surrealism in Film Making The images of the subconscious, the images of dreams, all free of restraints implemented by reason or social convention. Senses that are not keeping with what is correct, with what is right. The opposite of reality … surrealism. This definition of surrealism is portrayed in three distinct and well-known films by three different directors; 8 ½, directed by Federico Fellini, Brazil, directed by Terry Gilliam, and lastly, The Discreet Charm of the Bourgeoisie, directed by Luis Bunuel. Each film is filled with eye pleasing detail and surreal images. The directors captured and contained brilliant and stunning imagry while also attempting to express the workings of the subconscious. Brazil, was my personal favorite film of the three. This film, showcased in the year 1985, was filled with crazy tonal contrasts. It displays images with a charge that; both surprise and delight the eyes. The substance of the film along with the imagery is just swarming with details. Sam Lowry, played by Jonathan Pryce, is a small time man, lost, and ignored, in a totalitarian and immense government. His only escape from his bleak world is through his small apartment and his dreams. Sam’s dreams, whic Continue...

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The characters I believe are what made the film. In his dreams, Sam plays a winged super hero coming to the rescue of a ravishing blonde. The characters of this film are the substances, ranging from a cocaine smuggling ambassador to a bishop with a gardening fetish. Sam shows the audience that the purest way to go is through your very own mind, even if it does have its drawbacks. A person on the beach far below, pulls t!he rope down causing the soaring man to come hurtling toward the water. Fellini left audiences arguing about the moral of the story, thinking they knew what they were arguing about, but there was no clear and coherent narrative structure. Gillam does a fantastic and fun job at directing his audiences attention to his major statements. The victim of the car finally struggles out of the window and floats away into the clouds, a freed spirit. I believe when Sam finds his own face behind the mask of the samurai, it is a metaphor of how we are directly a part of technology, hence, we are technology. Each of these films; 8 , directed by Federico Fellini, Brazil, directed by Terry Gilliam, and lastly, The Discreet Charm of the Bourgeoisie, directed by Luis Bunuel, use both brilliant images, sounds and setting. The car, smoking, has a frantic man inside desperately trying to get air- both the doors and windows being stuck. The Discreet Charm of the Bourgeoisie can effect the audience in numerous ways like all three films. Brazil on the other hand gave the audience answers but left them wondering and questionable about the technology today and where exactly we are headed and who just is in control. Fellini, the director for 8 , also used dreams as a surrealistic vehicle to make a statement to the audience. Using weird, strange, satirical and surreal set pieces Bunuel does an excellent job of capturing the audiences attention to his statement.


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