Michael OPray argues that Surrealism is not simply a matter of irrational fantasy, it also involves a particular relationship to the real and its properties Critically analyse in relation to TWO of the following:Spellbound, Un Chien Andalou, Jan Svankmaje

Introduction

Present study seeks to discuss the nature of surrealism in cinema , as far as its relationship with reality is concerned . The analysis proceeds from O 'Pray 's argument , that Surrealism is not just an irrational fantasy , devoid of any sense and logical coherence , but rather a certain semiotic reflection of the complex structure of the Real

The primitive understanding of Surrealism , which the mentioned author criticizes , is debunked in this study to provide the better coverage of Surrealism 's artistic and philosophical basis

To these ends , its roots are trace

back to psychoanalysis and the explanation of its structure is partially based on modern linguistic and philosophical theories . The empirical groundings for theoretical generalizations are found in two films , which have deep ties with Surrealist tradition - Hitchcock 's Spellbound and Bunuel 's and Dali 's Un Chien Andalou

Social and philosophic roots of Surrealism : contradictory interpretations and critique

Historically , surrealism developed within French avant-garde movement as revolutionary break with traditional approaches in art and society which were formed under the influence of capitalist ideology of rationality and progress (Bate , 12

Influenced by the number of currents in literature , philosophy and art surrealism positioned itself in terms of ideological opposition to several important clichys , existing in traditional art . In the visual arts the latter clichys included the imperative of representing objective reality , subject-object dichotomy , rationality and ability to be easily interpreted

Surrealist movement in art was born as a critique of Realist art , which neglected inner foundations of reality and...