Most people who saw the film considered it a "successful film." But to those who tend to be fashionable, even if the fashion undermines their deep-rooted beliefs, to the newspaper industry that seeks glory and lacks sincerity, to the crowd of people who are nothing but desperate and fanatic in this In the call to kill, I actually found "beautiful" or "poetic" gangsters, what should I do with them?
(Foreword to the screenplay of Bunuel's "An Andalusian Dog")
one.
Freud published The Interpretation of Dreams, in which the most basic point is that dreams are the mapping of wishes. Freud's theory of the individual subconscious states: Human consciousness is like a huge iceberg floating on the ocean, the upper part that is exposed to the sea is "surface consciousness", while the lower, deeper behemoth hidden under the sea is " subconscious". The part where the glacier meets the sea surface is sometimes exposed to the surface with the undulating sea water, which is perceived by us. In a sense, movies and dreams have similar characteristics of interweaving fiction and reality. Surrealism breaks the logical structure of movies and conveys more instinctive and intense emotions to us through pictures similar to dreams. Buñuel's films take us to another space that belongs to instinct beyond reality. The impulsive and emotional pictures violently stir our spiritual realm, and they throw us a lot of questions like the ocean tide. We stood in the same place for a long time and it was difficult to calm down.
"An Andalusian Dog" is inspired by the dreams of Luis Buñuel and his friend Dalí. Buñuel told Dali that he had a dream that someone's eyes were cut open not long ago, and Dali also said that he In a dream, I saw ants crawling all over my palm. So the two of them started making the film. "An Andalusian Dog" has always shown fierce rebellion. This film includes the bold pursuit of sexuality shown by Buñuel's subsequent "Golden Age", which is unimaginably revolutionary for a society undergoing a conceptual transformation. It is a mixture of moral, religious, and instinctual conflicts, and it can be said that the most essential emotion of man is a fierce rebellion against the system of that particular era. If "An Andalusian Dog" made Buñuel famous, "The Golden Age" really angered society. Buñuel used surreal art to revolutionize people from Christian "civilization" liberated again.
Going back to the film, the scene from the very beginning is "horrifying": Buñuel himself, seemingly casually sharpening his razor, followed by a woman's eyes - the eyes of a beautiful woman, the razor slow and mechanical Slitting the woman's eyes open... This is the beginning of the sexual innuendo of the whole chapter (and also the meaning of destruction); the man on the bicycle seems to be wearing baby clothes, and the diagonally striped box on the chest is also a hint: Pandora hiding desire box. Diagonal-striped boxes, diagonal-striped cloth bags, and diagonal-striped ties are all dizzy and psychedelic graphics; a woman's armpit, her crazy chest, ants crawling out of her palm, dragging The piano, the priest, the rotting donkey as the man jumps at the woman - they reunite on the beach of sunshine, and then perish... These dreamlike broken images, this decadent sin under the sun, have been conveyed from the very beginning. Crazy of desire, the bomb dropped by Buñuel is an instinctive explosion.
Finally, I have to mention that I made a mistake in parsing the film (and a lot of people made it) - trying to find something from the film using rational logic according to Freud's theory. Indeed, people are always afraid of disorder beyond their control, and exaggerating the role of reason is the real irrationalism. When watching "An Andalusian Dog" or other similar illogical films, I always want to understand "What is it about?" "Why did the hero and heroine do this?" "What is the cause and effect of the previous picture and the current picture?" Contact?", as if to gain a sense of security in this way. At the beginning, I tried to analyze the film with Freud's "ego", "id" and "superego" theories, and the results obtained by this were actually "good" - the analysis was implicit and logical, and then I became complacent, as if I knew what others didn't. But after more detailed study, I understand surrealism better, and I find it a bit ridiculous... First of all, I should stop trying to explain the film and hand over these broken images to my subconscious emotional understanding. So I overturned the self of yesterday, and I took a few steps out of my logical comfort zone.
Buñuel actually denies that he has any absolute connection with psychoanalysis, but they are in a sense unified, and here is what Buñuel said in his autobiography about "An Andalusian Dog": "In the film Combining the aesthetics of surrealism and the discoveries of Freud. I am in line with the basic tenets of this school, which makes it clear that surrealism is a non-psychological, unconscious act that can return the human mind to irrational, The original function of moral and aesthetic constraints. Although I use the element of dreams, the film does not describe the dream, but the situation of the thought, the real person, and it is fundamentally different from other films by the fact that the film The actions of the protagonists are driven by impulses whose main source is intermingled with a source of irrationality that is poetic in itself. Sometimes the actions of these characters are puzzling, even To the point of a psychopathological plot that may become a mystery. The film targets the subconscious emotions of man, so it has universal significance, although for a certain social group and the moral code of the Puritans, he probably It's unpleasant." (I didn't read the autobiography, here is the search information)
two. technical analysis
After watching "Knowing Movies", I tried to analyze it with this movie, hoping to deepen my understanding. "Understanding Movies" is a good popular science book, I recommend it.
1. Photography
a. Shots: Meaningful close-ups are used many times throughout the film. For example, the dynamic contrast between the large close-up of the woman's eyes and the picture between the clouds and the moon at the beginning of the film - how similar the mucus from the eyeball cut by the razor is to the moon cut by the cloud - directly affects us from the beginning. The senses, without turning, cut straight to the part that is beyond the scope of ordinary people's cognition, and other suggestive features that express men's desire for women are also used in close-up, such as armpits, chest, and the expression that men desire. And in the first half of the film, the deep focal length lens is rarely used to transition, and the short focal length lens is used to create a switch between multiple broken pictures, which is very impactful.
b. Light and shade: In the general concept of light and shade, darkness symbolizes terror and sin, and light represents stability and happiness, while Buñuel seems to be a bit contrary. The overall tone of the film is bright. For example, the broken hand, funeral, and beach scenes take place directly under the sun, and the dark and tense atmosphere of the normal interior scenes is even stronger. These pictures interact with each other. Influenced, the "bright" outdoor scenery is even more eerie and disturbing.
2. Exercise
The movement in the film is subtle and complex. The human eye tends to view a picture from left to right, and movement in this direction is psychologically natural, while movement from right to left can appear tense and uncomfortable. This kind of movement mobilizes our very subtle perceptions, and it may be difficult for us to tell the difference for a while. In most of the pictures, Buñuel placed the main body of the picture more on the left side, but in a few pictures, in order to highlight the dramatic tension, he used a right-to-left movement method. Such as the classic cut eye, the picture of a man chasing a woman hiding in the house.
3. Dispatch of the scene
a. Composition: Take the picture of a woman fiddling with a broken hand as an example
Buñuel reduced the frame of the frame to present a woman standing on the street in a bird's-eye view, blurred by dots, and naturally led out passers-by around the woman in a circle. Always centered on the woman with estranged faces, who looked at the ground in fear and pushed each other in panic, the scene was tense but not chaotic.
b. Picture: The picture is compact, and the movement of the camera is limited to the woman in the middle of the street and the crowd around. The movement of the characters seems to be free and logical, but in fact they have been drawn in a circle. There is no logic in implying that the crowd is just the background and audience at a certain distance from the woman.
4. Clip
a. Editing integrates space and time to group shots into consecutive meaningful scenes. The editing in "An Andalusian Dog" is illogical. The random change of years, the fading and changing of scenes are so illogical that people can't figure it out. However, these clear signs of time and space that do exist, emphasize their “importance” in general, like traps—leading us to unconsciously try to find answers on the path of logic.
b. The stunned state of the woman holding the box and the constantly changing expression of the man on the window floor are cut into several short split shots, which appear alternately in the film. On the road where the cars come and go, the woman is holding the box in desperation, in sharp contrast to the man's obvious anticipation, excitement, excitement, more and more excitement - the woman reached the top after being hit by a car!
The atmosphere of the whole chapter will also be pushed to a climax, laying the emotional foundation for the subsequent expression of men's unresolved desire and pursuit of desire.
c. Using direct and obvious visual metaphors, the film is edited according to the analogy, such as comparing a woman's armpit to a sea urchin.
5. Performance, drama
a. Stage performances are different from film performances. In stage performances, actors are always "communicating" with the audience, while film actors serve more of the film itself, and audiences (compared to dramas) receive information from film performances more passively and do not need to supplement themselves too much. Theatrical performance emphasizes language, and the film performance emphasizes vision, especially in "An Andalusian Dog", a non-language film connected by illogical movements.
b. The contribution of the actors in this film is not high, and it does not require the actors to enthusiastically integrate into it and patiently ponder the emotions of the characters. But on the other hand, "An Andalusian Dog" requires the performance to be exaggerated and smooth and harmonious. The illogical content coupled with a single exaggeration will only make the film extremely embarrassing. In order to achieve the perfect emotional traction, the actor's sensitive grasp of the arrangement of this illogical film is enough to make people admire.
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