No matter how I make sense of these illogical shots, Buñuel's films always fill me with relentless provocation and hidden anxiety. Subtle provocation is more terrifying than outright violence. Perhaps his purpose is to use a super-present form to stimulate the deepest impulse in the audience's heart, such as the palm full of heart-eating ants.
1. The way of speech is broken, and the conduct of the heart is destroyed.
Behind the exaggerated and bold artistic practice, there must be a very strong emotional drive, which is to reject the ordinary and declining feeling of daily life...In the Paris cultural circle of the 1920s, various avant-garde movements emerged, abstraction Pai, Lailaipai, Dadaism, Symbolism, Expressionism, Cubism, Documentaryism, Surrealism... all kinds of new banners emerge one after another.
As a masterpiece of surrealism, this film is a must-see classic for film students. It is like some kind of unconscious confession, a raving that is difficult to interpret with reason.
"Freedom: Dada, Dada, Dada, the convulsive scream of pain, the interweaving of all opposites, contradictions, grotesques and illogical things, this is life". "Let everyone cry: There is a great work of destruction and negativity to be done. Purge, sweep." - Nihilism, Anarchism. Dada's spirit - destroying everything, denying everything, even Dada himself.
After the First World War, people witnessed the absurdity and destruction of the war, and they doubted the traditional ideals, culture and morality with rationality as the core. Old beliefs lost their charm and needed to be replaced by a new ideal, and surrealism was born here among a group of French youth. Nothingness is its spiritual core, and rebellion is its manifestation, reflecting the deformed alienation relationship between man and society, man and man, man and nature, individual and self, and the resulting mental trauma, abnormal psychology, pessimism Emotions and void consciousness.
How the heart is, cannot be accurately conveyed through words and the external environment, but everything that is depressed and repressed is more real and smooth in the dream, because this is the subconscious speaking - not limited by expression, not controlled by reason, not dependent on Any aesthetic or moral prejudice.
Like religious experience, private experience is transcendental. Most of the people's own survival situation is difficult for others to truly understand, and can only be released through an unrepressed private narrative. Dreams are the most perfect private way of narrating unique life experiences. Buñuel uses this collection of dreams to record and reflect the “truth” in his unique dreams and the collective subconscious undercurrents under the oppression and oppression of the times.
2. According to the nature of all living beings, the different
personal discourses and aesthetic narratives we receive are private, and our judgment is only our own judgment. Using paranoid surrealism to express the absurdity and weirdness of one's inner world into or replace the external objective world, it was not intended to be understood by the public from the beginning.
This fierce and avant-garde surrealist "specializes in producing films that confuse and disturb audiences". It exists outside the commercial film production system, and it relies on private sponsorship to obtain filmmaking funds and screen it in private venues where artists gather. It can be said to be a kind of niche film.
When we put too much emphasis on personal aesthetic feelings, any form of expression becomes self-talk.
The symbolism of each image in the film is difficult to identify all at once. This is the same as decoding and jigsaw puzzles, which requires you not only to know various word games and the use of camera combinations, but also to be familiar with the director's own experience and thoughts.
I think this kind of avant-garde film language is inconclusive, it is the artist's self-talk, only Buñuel and Dalí know what they are doing, and they don't even give each shot a exact meaning.
What is the meaning of this film, Buñuel himself once answered negatively. "I kept hearing or reading clever, but inexact, explanations," he said. "In fact, Dalí and I just picked some gimmicks that came to our minds... We simply dropped everything that conveyed meaning." He also said, "The film is an unconscious imitation of the dream... The film is conceived from the dream that Dali and I had."
In May 1968, Buñuel returned to Paris for the filming of "Galaxy", and it was all about its prosperity. The leader of the Surrealist movement once said, "The real goal of the Surrealist movement is not to encourage a new literary or artistic, or even a philosophical movement, but to overthrow the old social order and make Life has been reborn." And half a century later, looking back at its prosperity, thinking about all kinds of things, he said, "People often ask me what surrealism is, and I don't know how to answer. Sometimes I say that surrealism achieves secondary goals. Succeeded and failed in the main.… The most desired, an urgent but unfulfilled desire is to change the world and change lives. In this - the main - just a glance at the world around us can detect us The failure.”
Although he failed, this old man who used dreams, metaphors, and extremes (Ge Fei) to weave images to demonstrate his decades of progress, rejecting the mediocrity and decline of daily life, “The Surrealism Movement is A revolutionary, poetic, and moral movement" has finally become the direction of its belief and practice, which is very clear and strong.
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