The Screen in Surrealist Art and Thought
- Imprint: Ashgate
- Illustrations: Includes 41 b&w illustrations
- Published: July 2007
- Format: 234 x 156 mm
- Extent: 340 pages
- Binding: Hardback
- ISBN: 978-0-7546-6116-0
- Price : £65.00 » Website price: £58.50
- BL Reference: 791.4'361163
- LoC Control No: 2006037352
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- Haim Finkelstein, Ben-Gurion University of the Negev, Israel
An interrogation of the notion of space in Surrealist theory and philosophy, this study analyzes the manifestations of space in the paintings and writings done in the framework of the Surrealist Movement. Haim Finkelstein introduces the 'screen' as an important spatial paradigm that clarifies and extends the understanding of Surrealism as it unfolds in the 1920s, exploring the screen and layered depth as fundamental structuring principles associated with the representation of the mental space and of the internal processes that eventually came to be linked with the Surrealist concept of psychic automatism. Extending the discussion of the concepts at stake for Surrealist visual art into the context of film, literature and criticism, this study sheds new light on the way 'film thinking' permeates Surrealist thought and aesthetics.
In early chapters, Finkelstein looks at the concept of the screen as emblematic of a strand of spatial apprehension that informs the work of young writers in the 1920s, such as Robert Desnos and Louis Aragon. He goes on to explore the way the spatial character of the serial films of Louis Feuillade intimated to the Surrealists a related mode of vision, associated with perception of the mystery and the Marvelous lurking behind the surfaces of quotidian reality. The dialectics informing Surrealist thought with regard to the surfaces of the real (with walls, doors and windows as controlling images), are shown to be at the basis of André Breton's notion of the picture as a window. Contrary to the traditional sense of this metaphor, Breton's 'window' is informed by the screen paradigm, with its surface serving as a locus of a dialectics of transparency and opacity, permeability and reflectivity. The main aesthetic and conceptual issues that come up in the consideration of Breton's window metaphor lay the groundwork for an analysis of the work of Giorgio de Chirico, René Magritte, Max Ernst, André Masson, and Joan Miró. The concluding chapter considers several issues that dominate the Surrealist spatiality in the 1930s. Derived from the various spatial concepts associated with the screen paradigm, at times in contradistinction to them, these issues, as the author argues, reflect a gradual eclipse of the screen paradigm in the early years of the decade.Contents: Introduction; Desnos's screen, Aragon's windowpane, Feuillade's 'self-aware screen'; Beyond the surfaces of the real; Breton's windows; Max Ernst – conceptualization of mental space; Magritte's layered depth; Dialectics of opacity and transparence – Miró; Dialectics of containment and dispersal - Masson; Into the 1930s – eclipse of the screen paradigm; Bibliography; Index.
About the Author: Haim Finkelstein holds the Evelyn Metz Chair in Art History at Ben-Gurion University of the Negev, Israel. His book Surrealism and the Crisis of the Object was published in 1980; his more recent books include two volumes devoted to Dalí, Salvador Dalí's Art and Writing 1927-1942 (1996), and a critical edition of his shorter writings, The Collected Writings of Salvador Dalí (1998). His current research focuses on the notion of space in Surrealist film.
Reviews: ‘This publication is a fascinating study of the deeper implications of cinema and the screen for Surrealist theory and philosophy.’ Arlis
‘Haim Finkelstein's latest publication follows a line of impeccably researched, scholarly works from the author. This fascinating and erudite book proposes a reading of European Surrealism of the 1920s and 1930s which claims the screen as a dominant conceptual paradigm for the movement.’ The Art Book
‘One of Haim Finkelstein’s achievements in this book is to articulate the link between surrealist experiences and everyday experience. The book does a particularly fine job of examining how the former are located on the threshold of the latter; it shows, indeed, that what separates surrealism from conventional
understandings of realism may be little more than a permeable screen. Finkelstein has produced a rich and fascinating reading of the surrealist movement during the 1920s. …All in all, The Screen in Surrealist Art and Thought makes a valuable contribution to the study of surrealism and its place in twentieth-century culture. It can be read with profit by not only art, literary and cultural historians, but by anyone concerned with the effects of technological and cultural modernity on the human imagination.’ H-France ReviewExtracts from this title are available to view:
Introduction
Index
超现实主义艺术思想中的电影银幕
译者: 王升才 / 库宗波 / 张爱东
ISBN: 9787534425134
页数: 406
定价: 48
出版社: 江苏美术出版社
装帧: 平装
出版年: 2009-1-1
简介 · · · · · ·
对于想要深入了解法国超现实主义绘画、文学及电影作品的读者来说，本书无疑是一部专业必读书，并且是一部颇具深度的代表作品。同时，作者的研究角度以及写作方式对于专业人员来说也是一个很好的范例。
作者简介 · · · · · ·
目录 · · · · · ·
插图表鸣谢
前言
1 德斯诺斯的银幕、阿拉贡的窗玻璃、费拉德的“自知银幕”
银幕之后
梦与银幕的白色
投影与反射：德斯诺斯和阿拉贡
费拉德的分层景深
自知银幕
2 超越现实的表面
门与窗：通往神秘之门
巴黎的乡下人：电影
阿拉贡：双重幻影玻璃房
布列东的城堡
街道乃“油画背景”——《娜佳》书中的摄影照片
3 布列东的窗户
“从我面前延伸出去并消失的景色”
“遥远的地方有什么呢?”
“蒙着薄纱的想象”
“敲窗户”
“世界上最迷人的电影”
4 马克斯·恩斯特——精神空间的概念
德·契里科的空间形式
“连续的矛盾图像”——恩斯特的分层景深
向内凝视
恩斯特的舞台前景——画面与电影银幕
电影银幕与外壳——恩斯特的拓印画
5 马格里特的分层景深
马格里特的“超现实主义神秘”
马格里特的电影——《芬托马斯》与分层景深
马格里特的电影银幕——深层画面
6 不透明与透明的辩证法——米罗
超现实主义与立体主义的颠覆——米罗与梅森
米罗的蜘蛛网
“空间是一扇窗”——米罗的分层景深
“海洋的整个深度和整个表面”
“当我作画的时候，我抚摸我所做之事”——米罗的绘画表面
模糊的不透明性——米罗1929年创作的拼贴画
7 容纳与离散的辩证法——梅森
“隐秘建筑的梦想”
“玻璃盔甲”
梅森的“皮肤自我”——人体的容纳与离散
母亲的外壳（the mother envelope）
梅森的“沉淀物”——年久失修的皮肤自我
电影银幕样式的分解——梅森的“神秘解剖”
8 20世纪30年代——电影银幕样式之消逝
从“夜间革命”到“日间革命”
“万物皆为透明”
“一种无限美好的物质”
达利的妄想狂一评论时期
空间中的主体与主体的空间——达利的变形视觉图像
一连串梦幻图像——马克斯·恩斯特的拼贴画小说
“摈弃这种幼稚的‘习惯做法’，即电影银幕”
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