Surrealism

Surrealism started as a revolt against the intellect of Cubism, Formalist art, Art for Arts sake (Dada) and abstraction. It is an attitude to life and society rather than a style of art. It was a painting style that trapped the dream into physical existence. Individualism and isolation was a core value of the movement. They investigated the mind for artistic inspiration.

Origins of Surrealism: Andre Breton: Was dissatisfied with DADA Wanted a more organized and realistic He explored automatic righting and discussed the irrational and the accidental Hough process in painting He published a manifesto in 1924 (statement of ideas about the movement) Was based on Freud the idea of the conscious mind struggling against the irrational and the unconscious Implemented the idea that the individual is free to express their personal desires Definition of Surrealism: Thought is expressed with the absence of reason, aesthetic (visual), moral concerns.

Surrealism emphasizes words more than the image and was dominated by the written works and ideas. The influence of Sigmund Freud: Worked with Psychoanalysis, and how hypnosis allows an individual to remember motional experiences that have been forgotten. The importance of memories and experiences in the subconscious is core to Surrealism Hypnosis liberates the imagination Through the dream, reality is solved.

Political situation of the time: Breton was a communist The surrealists were anarchists like the Dadaists of WWW Surrealist thought that non-government was better(irrational vs. the rational) Russian revolution Tribal art Dada : chance, irrational, illogical Art of children and the mentally ill Freud and Jung (importance of dreams and the symbols used to understand dreams) Sub Themes:

The human condition: Surrealism deals with the subconscious, dreams and irrational thought Influence of technology- Meaning in media: Surrealism involves symbolism, meaning through the use of paint Reflection of society: comment on anti war etc Two Schools of Surrealism Bibliographic Surrealism Ray, Dali,Yves, Migrate Detailed Automatic Organic surrealism Mirror, Manson Recognizable objects in different contexts Images of the mind Precise reproduction Juxtaposition (placing next to each other) Transposed (placed over) Displaced(put out of place) Mutated (altered) Visual pun/ double meaning Hidden Meaning Chance Close to abstract

Opening a new business is never an easy task. Various factors count while starting a new venture and much is at stake. However, the formalities and the difficulties also depend on the country one wants to do business in. Every country has certain rules and regulations as regards to doing business on its land. El Salvador is an open economy in Central America and attracts foreign investors. After Chile El Salvador has become the second most open economy in Latin America. Government is democratic and offers several promotional benefits for the investors. Several factors like “ CAFTA (Central American Free Trade Agreement), low inflation, proximity to the US marketplace, competitive operational costs, and tax exemptions in free trade zones ” make the country an attractive option for foreign investment (“Doing Business in El Salvador”, 2007). Even though issues like unemployment and gang activities are bothersome but “sustainability and sound CSR (corporate social responsibility) policies in agribusiness, manufacturing, apparel, electronics, and the development of bio-fuels place El Salvador at the forefront of Latin American trade development” (“Doing Business in El Salvador”, 2007).

The country also gets assistance from the United States to tackle with the negative issues in the society (“Doing Business in El Salvador”, 2007). Flexible policies of El Salvador make it much easier for the companies to do business in the country. State has free trade agreements with a number of countries like US, Guatemala, Honduras, Nicaragua, and Dominican Republic, Chile, Mexico, Dominican Republic, Panama, Taiwan, Colombia, and Central America and many other countries. It is an open market for US goods with very low tariffs and other trade restrictions.

USA is the biggest trade partner of the country followed by Central America and Mexico. The official currency is US dollar. El Salvador has very less corruption. On the other hand there are also some limitations for the foreign companies. Judicial system of the country is time-consuming, lethargic and is partial as far as foreign companies are concerned. Crime rate is high and literacy rate is low leading to unemployment and lack of English proficiency (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008). El Salvador offers significant growth in sectors like automotive parts and service equipment, dental equipment, printing and graphics and travel and tourism. Agents are the best way of entering the Salvadorian market and the concentration of trade in the capital city rules out the need for more than one agent. Companies or individuals must verify every agreement and bona fides of partners they are going to be associated with. There is no need of an exclusive territorial contract in the beginning with agents.

The Salvadoran Commercial Code is meant to protect both the agents and the companies in default situations. Companies must consult local lawyers to get a hold of the legal system of the country. Several protections, compensations and damages must be considered while entering into an agreement with an agent or a partner (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008). The next step is getting a license to open an office in the country. Presence of a lawyer in every step is crucial for hassle free progress from one step to another.

“One stop” window of El Salvador’s National Investment Office provides every assistance for getting a license to open an office, branch, or agency. “ it also provides assistance with labor related issues, immigration, and information about the Free Trade Zone Law regime” (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008). Different licenses are needed that can be listed as follows:

• Society or Company Registration
• Initial Balance Registration
• 1 st time Establishment Registration
• Income Tax Identification Number (NIT) (Ministry of Finance)
• Value Added Tax Identification Number (IVA) (Ministry of Finance)
• Invoices Correlative Registration (Correlativo de Facturas) (Ministry of Finance)
• First time Employer’s Identification Number (NIP) (Salvadoran Social Security Institute)
• Work Place Registration (Ministry of Labor) (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008).

All these formalities can be submitted at the “Integral Services Window” of the Registry of Commerce Office of the National Registry Center (“Doing Business In El Salvador: A Country Commercial Guide for U.S. Companies”, 2008). $11,428 is the minimum capital needed to start a business. The Commerce Registry also needs the names of the company’s board of directors and administrative personnel. All the accounting records of the company must be in Spanish and approved by a certified public accountant. The Commerce Registry issues the license only when the company’s location details are cleared by the municipality and it is registered in the National Industrial and Commercial Establishments Directory at the General Director of Statistics and Census.

License is then printed in local newspaper. There is a need of further clearances from specific ministries for specific companies. For instance pharmaceuticals companies must complete all the formalities with the Superior Council for Public Health and so on for other sectors (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008). Franchise is another attractive option for starting a new business in El Salvador. US fast food joints are booming in the country. Others include: U. S. franchises operating in El Salvador include hotels and car rental, auditing/accountancy, credit reports, mobile advertising and media marketing, print shop/one hour photo labs, beauty/hair salons, fitness centers, computer learning, child care/learning centers, video rental, exterminator services, and dry cleaning (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008). Direct marketing using telemarketing mediums like mobile and internet and cable services is another option for establishing a business.

A joint venture of US and Salvadorian company must be incorporated and duly registered in El Salvador (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008). Next step is concerned with the distribution and selling of the product. Import of products is handled by the distributors who can launch and utilize the opportunity of their already existing wide networks to market any new product in El Salvador. Small retailers buy some products like used vehicles and auto parts, clothing, jewelry, cosmetics and household goods from US themselves.

Free trade zones form major distribution centers of the country. It is very important to market a product with as much efficiency and care as devoted in its production only then can the product reach its consumers. Using prominent newspapers, billboards and other media can be useful for introducing a new product and communication your idea to the end user. Grand launch at premium hotels and among significant personalities of the region can bring a new product in instant limelight: As competition increases, creative sales promotions such as contests, drawings, raffles, etc., become more relevant. Samples of products are often handed out at supermarkets and department stores. Participation in local exhibits and sponsorship of local events and conferences is a common local practice for brand positioning. Shared budget for promotional campaigns and advertising is highly appreciated by local importer/distributor, and simple things such as the availability of brochures and other promotional materials in Spanish are very helpful for marketing products (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008).

Government of El Salvador regulates only the liquefied propane gas rates, public transport rates, and energy rates. Import duty and the 13-percent value-added tax (VAT) is added to the price of imported products. “Import tariffs for capital goods are zero percent, raw materials range from zero to 5%, intermediate goods range from 5 to 10%, and finished goods are charged a maximum of 15%. Textiles, agricultural products, vehicles, and a few other non-essential products are charged higher tariffs that range from 15 to 30%” (“Doing Business In El Salvador: A Country Commercial Guide for U.S. Companies”, 2008). Free trade agreements between US and El Salvador reduce the amount of tariffs on the US products to a greater extent. No duty is imposed on 80 percent of the American products. Trade barriers are also minimal. However some services and professionals do face some barriers like architects and notaries must be local only. Rice and pork are the two products that buyers have to buy locally and their further demands follow an import quota system and 40 percent duties. Countries bound by CAFTA-DR do not question each others sanitary inspection methods.

In case of imports, there is no need of import licenses and a commercial invoice and bill of lading can only be sufficient to serve the purpose. The National Registry Center (CNR) has one-single-import shop where a company can get import licenses of the following institutions: Customs, Ministry of Finance, Ministry of Agriculture, Ministry of Health, Ministry of National Defense, Ministry of Economy (virtual), Ministry of the Environment, and the National Health of Public Council. Some products like arms and ammunition exported from US need an export license from the US government.

There are other products that need a license from the Bureau of Industry and Security (BIS). So the exporters must make sure that they have the required licenses and permissions to export their products to El Salvador. Some products like high-caliber firearms, machines and tools for making coins, counterfeited coins and bills, movies contrary to ethics and good behavior, abortives etc. are prohibited for import in the country (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008). Some rules regarding the labeling of the products can be listed below:

• Retailers must have the price of the product either on the packaging or in a visible place.
• Products that are sold by weight or volume or any other measure must have the weight, volume, or an exact measure of the contents on the label. •
• For pharmaceuticals, the list of ingredients, expiration date, dosage, contraindications, risks involved when used, residual toxic effects, etc. as established by the Ministry of Public Health must be printed on the label.
• Labels on frozen and canned foods must include an expiration date.
• Labeling must be in Spanish language (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008).

Customs procedures are relaxed and simple in the country. Use of modern technology, internet and “Teledespacho” system in particular has reduced the time the formalities used to take. Teledespacho system rules out the need of a custom broker and provides a direct link between the importer/exporter and the Central Customs Service. Mandatory Salvadoran Standards (NSO) and Recommended Salvadoran Standards (NSR) are two types of standards used in the country:

NSOs include the standards regulating the International System of Units; standards relating to materials, procedures, products and services that may affect human life, safety and integrity and the safety and integrity of other live organisms; environmental protection standards; and standards considered by the government to be relevant to the economy or in the public interest. NSRs are concerned with materials; procedures, products and services not covered by an NSO (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008).

El Salvador is an attractive option for doing businesses and the regulations of the government are flexible enough for the companies to open up and explore new opportunities in the country. It is a mutually beneficial relationship. Both the foreign investors and the economy of El Salvador benefit from this flexible system. Growth and development of El Salvador depends largely on the foreign investment, in particular from US which is its biggest trade partner (“Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies”, 2008).

There are several similarities and differences in regulations and conditions with regards to opening a business in the US and El Salvador. Like El Salvador USA has several free trade agreements with numerous nations around the globe making it an attractive option for foreign investment. US is also a free, democratic and open economy. El Salvador has most of its business concentrated in its capital city while it is not the case in US. Laws and regulations are same in the entire nation of Salvador while in US every state has its own business regulations.

Licenses and permits are required for doing only specific jobs in USA. Need of a license depends on the state and exact location of the business since every state has different local regulations. The owner also has to pay business taxes depending upon the location of business. Following business need licensing: • for those businesses or professionals that go through extensive training before practicing, such as lawyers, physicians, nurses, accountants, dentists, teachers, or before carrying on a particular trade or business, in order to protect the environment and consumers from fraudulent activities and unsafe products or services. Real estate agents, restaurants, bars, insurance agents, pawnbrokers, peddlers, cosmologists, private investigators, and mechanics are representative of this group, to name a tiny fraction (“State licenses”). Like El Salvador every business needs an “EIN” (employer identification number). It is always a good step to hire a local lawyer and an accountant to aid in the initial legal proceedings of the country.

Also since in US every state has different laws and statutes regarding a business so it is very important to seek local help. Major difference in doing business in US and in El Salvador is that

• US is a much bigger economy
• Offering much bigger opportunities

There is no lack of help government offers to foreign companies and investors

• Laws are rigid to protect both domestic and foreign companies
• Literacy rate is much higher
• English proficiency is much higher among locals
• Multilingual and multicultural diversity of US allows everyone fulfill their dreams and reach their specific consumers.

Translators and interpreters are available everywhere for every kind of help and bridging gaps among people of different language backgrounds.  Crime and unemployment rates are much lower. Infrastructure is well developed. Every tool for direct marketing like internet, telemarketing, cable services, postal delivery systems, courier systems are very well developed and provide expanded prospects for different businesses.  There is no shortage of resources and financial aids from government institutions and private banks. With proper planning any dream can turn into a wealthy and booming business.

References

1. “Doing Business in El Salvador” (2007). Retrieved August 12, 2008 from http://www. gatewayelsalvador. com/gateway_el_salvador_doing_business_in_el_salvador. html
2. “Doing Business In El Salvador: A Country Commercial Guide for U. S. Companies” (2008). Retrieved August 12, 2008 from http://www. buyusa. gov/elsalvador/en/ccg. html
3. “State licenses. ” Retrieved August 12, 2008 from http://business-law. freeadvice. com/starting_a_business/state_licenses. htm

Abstract

This essay has been written to explore the metaphor behind the surrealist film Un Chien Andalou. Harper and Stone (2007) have stated that this ‘…revealed the cinema as the true metaphor of the dream state…’ Harper and Stone (2007:8). This essay will be discussed in conjunction with the Surrealist movement, a brief overview of scholars work to date shall then be given, the film will then be introduced, then the directors intentions shall be discussed. From here the metaphor of the dream, state shall then be examined and then a brief outline of Freud shall be given.

Once each of these factors have been discussed conclusions shall be drawn regarding the statement that the surrealist film Un Chien Andalou ‘… revealed the cinema as the true metaphor of the dream state…’ Harper and Stone (2007:8).

1. Introduction

This essay has been written to explore the metaphor behind the surrealist film Un Chien Andalou. Since the surrealism movement started in the 1920s, many have noted the similarities between films that were produced during this time and this faction. At this time, films that were produced were experimental. They explored relationships between reality and the many images, which could be shown, on the screen to many people. They explored these realities through a number of means by reflecting what they perceived to be a dream world, which could capture the imagination and consciousness of mass audiences. Thus, reality was redefined through these films to seek to capture the hearts and minds of this generation.

Many of the early surrealists wrote about how the cinema at this time reflected the reality of the present say. Yet unlike many other forms of art, film was not truly perceived as being surrealist at this time as much as, poetry, fiction, painting, photography, or collage. Subsequently, the scholarship that has evolved around the development of surrealism and film has become highly varied. Each of these variations is due to the time in which scholars have sought to examine these two factors in conjunction with each other.

The earliest examinations of the relationships between surrealism and film were mainly derived from French writers who sought to understand why these films were so popular (Dennison & Lim, 2006; Kyrou, 2005). Then a second group of scholars started to examine surrealist films, their directors, and a number of other related scenarios. These scholars believed that each of these factors had influenced each other whilst these films had been made. Finally, more recently, a number of scholars have sought to understand the relationships between these films and surrealism (Dennison & Lim, 2006; Kyrou, 2005). They have sought to develop a number of theories or concepts that allow these phenomena to be classified into a number of fields such as, literary or cultural studies (Kyrou, 2005). Each of these forms of academic investigation into the relationships between surrealism and these films has resulted in a number of differing viewpoints. One of these is that the surrealist film Un Chien Andalou ‘… revealed the cinema as the true metaphor of the dream state…’ Harper and Stone (2007:8), however there are also others. These scholar’s views shall now be briefly outlined to seek to understand what these are.

2.Academic Studies and Surrealism

In order to fully understand how Harper and Stone (2006), reached their understanding of surrealism, it is necessary to give a brief overview on how academics have examined this and the factors surrounding it, in relation to film. Therefore a brief overview of this shall now be undertaken.

As has already been outlined above, a number of scholars have sought to explore the relationships between film and surrealism. Many of these started to be undertaken in the middle of the 20th century (Graham & Labanyi, 1995; Kyrou, 2005). Many film critics, which were associated with the French cinema movement also sought to understand these relationships between the surrealist movement and cinema (Graham & Labanyi, 1995; Kyrou, 2005). However, since this time academics have sought to understand a number of elements, which may be derived from specific disciplines. Matthews (1971) and Kovacs (1980) started to seek to understand the general interests that the surrealists had in film and they wanted to know what the aspirations of these thinkers were in relation to the specific elements of each film. Thus, the analysis of the surrealist movement and film started to take shape. Beyond this, other scholars such as, Short (2008) and Richardson (2006) started to discuss the actual surrealist film makers in an attempt to bridge the gap between what they were trying to attain whilst they were making these films, as many other scholars had focused on a number of other specific elements (Kyrou, 2005). Other works had focused on analysing the relationships between surrealism and cinema, such as, Lancanian psycholinguistic analysis (Williams, 1981) and theories that are more recently new have evolved. Both Kuenzli (1996) and Harper and Stone (2006) have broadened these examinations of the relationships between surrealism and cinema. Kuenzli (1996) focuses on the French surrealist films that were produced in the 1920s and 1930s, whereas Harper and Stone (2006) have sought to understand the cultural genres, which may be associated with these surrealistic films. In particular, Harper and Stone (2006) surmise that:

“….Surrealist cinema presents an unsilvered screen offering no refection to an audience except the possibility of examining, through unsettling the status quo, the truth of their own lives; reality, that is caught in the moments, the memories, the unexpected glimpses beyond the everyday. A sometimes dark Truth, therefore, but equally an often potent comedy of human existence” (Harper and Stone, 2006: 8).

Thus, they have sought to understand the cultural aspects that may be related to surrealism and film. However, though this is a useful way through which to understand the relationship between surrealism and film (Bordwell, Thompson & Ashton, 1997). There is much more that may be said about the relationship between these two factors, one may considered the origins, manifestations, images and a number of other surrealist works which may have influenced this movement. One may also examine the fact that the surrealist movement if often associated with the idea of revolt. This was because what evolved in the ear of the First World War era, where ideas were rejected, as they appeared to be out-dated in a radical time of political or social change and devastation. This, it may be seen that surrealism tried to address these out-dated ideas by seeking to explored new means of expression which were relevant to the time when they were produced. The fact is that it encompassed so many ideas and so many variable forms of art that it may be examined by scholars from a number of perspectives. From this, it may be derived that there is not one way of examining the relationships between surrealism and film. However, for the purposes of this essay, we shall now seek to understand this in the context of the surrealist film Un Chien Andalou that Harper and Stone believed ‘… revealed the cinema as the true metaphor of the dream state…’ (Harper and Stone, 2007:8).

1. Freud and the surrealist movement

Freud was an Austrian neurologist and psychoanalyst he studied under Jean-Martin Charcot before opening his own medical practice in Vienna. He is best known for his theories of the unconscious mind, which have been alluded to throughout this essay. He believed that he could understand the unconscious mind through the practice of psychoanalysis (Freud, 1913). This consisted of a specialised dialogue that was undertaken through free association between a doctor and his patient. He became renowned for a number of his theories at this time however; the most pertinent to surrealism is his theory of dreams. He published his Interpretation of Dreams in the early part of the twentieth century (Freud, 1913). In it, he states that:

“The naive judgment of the dreamer on waking assumes that the dream – even if it does not come from another world – has at all events transported ….all the material composing the content of a dream is somehow derived from experience, that it is reproduced or remembered in the dream – this at least may be accepted as an incontestable fact. Yet, it would be wrong to assume that such a connection between the dream-content and reality will be easily obvious from a comparison between the two. On the contrary, the connection must be carefully sought, and in quite a number of cases, it may for a long while elude discovery. The reason for this is to be found in a number of peculiarities evinced by the faculty of memory in dreams; which peculiarities, though generally observed, have hitherto defied explanation. It will be worth our while to examine these characteristics exhaustively the dreamer into another world.” (Freud, 1913: Preface)

Twenty to thirty years later, the surrealist movement used this as they sought to depict how dreams may be used to depict reality (Bordwell, Thompson & Ashton, 1997). This is shown through the film, which is discussed in more detail below.

2.The Film Un Chien Andalou

In his autobiography, the director, Luis Bunuel, wrote about his film Un Chien Andalou he stated that:

“…I’d felt increasingly seduced by that passion for the irrational which was so characteristic of surrealism… in the working out of the plot every idea of a rational, aesthetic or other preoccupation with technical matters was rejected as irrelevant….”(Bunuel, 1984: 100).

He also alludes to his own approach to surrealism:

“The real purpose of surrealism was not to create a new literary, artistic, or even philosophical movement, but to explode the social order, to transform life itself.” (Bunuel, 1984: 107).

Both of these statements provide us with a useful insight into what Bunuel was seeking to achieve. He saw that the script and the film as a production from his unconscious. He regarded this as a great resource through which he could express and understand irrational things, which formed the world around him. Thus, one approach that may be adopted to understand the film Un Chien Andalou may be to seek to treat the film as a manifestation of the director’s psychological processes either from an unconscious or conscious perspective (Williams, 1981). One could adopt an approach that is derived from psychoanalysis to seek to understand his motivations and thought processes. Either way, we must consider the emotional aspects, which are related to this film, as this is how the director created Un Chien Andalou. This could be undertaken through examining the visual experiences of an audience as they watched the film or through examining the dialogue and its metaphors. Breton commented that:

“the Surrealist atmosphere created by automatic writing, which I have wanted to put within the reach of everyone, is especially conducive to the production of the most beautiful images.” (Breton, 1924: online)

For him, the images were in the surrealist films that were so striking. He believed that these created juxtaposition between two opposing elements, which were reality, and fantasy, like the “man cut in two by the window“(Breton, 1924: online). Thus one may say that from this perspective that Harper and Stones statement that surrealist films ‘…revealed the cinema as the true metaphor of the dream state…’ (Harper and Stone, 2007:8), was true. This may be seen as one of the key strengths of this genre, it reveals and explores a new reality, which the audience may experience first hand.

Many have said that the imagery in Bunuel’s films was very beautiful and unforgettable (see as an example: Breton, 1924: Harper and Stone, 2007). This is what made them so emotionally insightful and gave the audience the feeling that they understood their conflicts and desires. A sequence from this film may be used as an example to illustrate this. The extract sequence begins after the stranger in a suit and hat enters the cyclist’s room, pulls off the cyclist’s drag garb and box and throws them out the window, then orders him to stand facing the wall with his arms up as if on a crucifix:

An inter- title reads, “Seize ans avant (Sixteen years ago)”, and as the stranger turns to leave, we find that he is a spitting image of the cyclist. He spots some books scribbled upon by ink, walks over, closes the books, and holds them to his chest with an air of disapproval. He returns to the cyclist, still standing by the wall, and hands him the books, shaking his head as if in disappointment. After he turns once again to leave, the cyclist suddenly spins around with a glower on his face, and the books in his hands become guns. The doppelganger turns to face the cyclist with a hurt look, but the cyclist mercilessly fires several shots. The doppelganger’s eyes roll back and he begins his slow-motion collapse, but falls in a meadow by a gentle lake, next to a nude woman who sits with her back facing the camera. He reaches out and tries to clasp her, but his fingers claw down her bare back, and he falls as the woman vanishes.

This excerpt show sus how we may seek to understand this film from a number of perspectives, if we adopt a psychoanalytical approach to this we can see that the cyclist may have been disenchanted with constraining effects of the super ego and thus, he lashes out by retaliating by turning the objects against him, the books are turned into weapons which he uses like guns. The killing of the doppelganger, which is like a father to him, seems to be related to the Oedipal complex interpretations too. This sequence is also emotionally powerful and this reflects the ids impulse that allows us to act out, thus a number of emotions are acted out though the surrealist nature of this film. From this when we review Harper and Stones statement that surrealist films ‘… revealed the cinema as the true metaphor of the dream state…’ (Harper and Stone, 2007:8), we may see that this statement may also be extended to the psychoanalytical means through which this film maybe examined.

In conclusion, whether the director’s film was created by his unconscious mind or his conscious reality, which he perceived to be true, we can see how surrealism may have sought to imitate those images, which may be derived from a dream state that is created in our unconscious mind. Thus, the director and the film that he has created have explored and depicted a new reality that some may relate to through a series of emotional responses.

3.The metaphor of a dream state

From this when we review Harper and Stones statement that surrealist films ‘… revealed the cinema as the true metaphor of the dream state…’ (Harper and Stone, 2007:8), we can see what the surrealists saw dreams as. They believed that this was one way through which they could gain access to the unconscious and in making these films, they also gave others access to the parts of their minds which they may not normally be aware of (Bordwell, Thompson & Ashton, 1997). From his perspective, they used their films as a metaphor through which they could show audiences the dream state, as Breton (1924) states:

“It is quite right that Freud has analysed dreams. It is inadmissible that this considerable part of our psychic activity should have received so little attention” (Breton, 1924: 21–22).

This, through these films reality was depicted as a dream and dreams were depicted as reality. These states were derived from Freud’s theory of dreams, which was created at this time, thus this had a significant influence on the surrealist movement.

The image was very important to the surrealist movement and thus we may see how the film Un Chien Andalou may be to seen as a manifestation of the directors psychological processes either from an unconscious or conscious perspective (Williams, 1981). This is pertinent in regards to the statement that was to be discussed at the beginning of this essay which was surrealist films ‘… revealed the cinema as the true metaphor of the dream state…’ (Harper and Stone, 2007:8). Now we may fully understand how Harper and Stone (2007) reached their conclusions.

4.Conclusion

In conclusion the statement which was made by Harper and Stone (2007) which states that surrealist films ‘… revealed the cinema as the true metaphor of the dream state…’ (Harper and Stone, 2007:8) in relation to the film Un Chien Andalou, may be seen to be derived from a number of perspectives. These are based on the images, which are depicted in the film, the director’s unconscious or conscious mind that influenced how the film was made, the sequences, which occurred throughout the film and the ways through which each of these factors may be understood through psychoanalytical theory or Freud’s work the Interpretation of Dreams (Freud, 1913).

Each of these factors shows how this film was derived and sought to show mass audiences how reality may be depicted through the metaphor of dreams. This is the common approach which has been associated with the surrealist movement and each of the forms of art or expression that are used to depict how reality may be perceived by dreams and vice versa. From this perspective the analysis and the discussion, which has been undertaken in this essay, supports the statement, which was made by Harper and Stone (2007).

However, though that conclusion may be drawn in relation to the discussion that has been undertaken through this essay other conclusions may also be drawn. These are related to the means through which the analysis of the surrealist movement saw and sought to create metaphorical depictions of reality through the expression of the dream state via a number of means. There is much more that may be said about the relationship between these two factors, one may considered the origins, manifestations, images and a number of other surrealist works which may have influenced this movement. One may also examine the fact that the surrealist movement if often associated with the idea of revolt. This was because what evolved in the ear of the First World War era, where ideas were rejected, as they appeared to be out-dated in a radical time of political or social change and devastation. Thus, it may be seen that surrealism tried to address these out-dated ideas by seeking to explore new means of expression, which were relevant to the time when they were produced. The fact is that it encompassed so many ideas and so many variable forms of art that scholars from a number of perspectives may examine it. From this, it may be derived that there is not one way of examining the relationships between surrealism and film.

References

Bordwell, D., Thompson, K., & Ashton, J. (1997). Film art: an introduction (Vol. 7). New York: McGraw-Hill.

Breton, A. (1924) Manifesto of Surrealism. Available from http://pers-www.wlv.ac.uk/~fa1871/surrext.html (Accessed 29/05/2013)

Bunuel, L. (1984) My Last Sigh. New York: Alfred A. Knopf.

Dennison, S., & Lim, S. H. (2006). Remapping world cinema: identity, culture and politics in film. Wallflower Pr.

Freud, S. (1913) The Interpretation of Dreams, Third Edition. Trans. by A. A. Brill. New York: The Macmillan Company.

Graham, H., & Labanyi, Y. J. (Eds.). (1995). Spanish cultural studies: an introduction: the struggle for modernity (p. 18). Oxford: Oxford University Press.

Harper, G. and Stone, R. (2007) The Unsilvered Screen: Surrealism on Film. London: Wallflower.

Kovacs, S. (1980) From Enchantment to Rage: The Story of Surrealist Cinema. Rutherford, NJ: Fairleigh Dickinson University Press.

Kuenzli, R. (1996) Dada and Surrealist Film. Cambridge, MA. MIT Press.

Kyrou, A. (2005) Le surrealisme au cinema. Paris: Editions Ramsay.

Matthews, J. H. (1971) Surrealism and Film. Ann Arbor: University of Michigan Press.

Short, R. (2008) The Age of Gold: Surrealist Cinema. Los Angeles: Solar.

Richardson, M. (2006) Surrealism and Cinema. Oxford: Berg.

Williams, L. (1981) Figures of Desire: A Theory and Analysis of Surrealist Film. Urbana: University of Illinois Press.