Un Chien Andalou

Un Chien Andalou is a 1929 surrealist film directed by Luis Bunuel, and written by himself along with Salvador Dali. The film has lived in infamy for its bizarre, dream-like atmosphere, gory (by 1929 standards at least) imagery, and sexual allusions. Typically, film analyses like this one, start by offering a synopsis of the plot. In the case of Un Chien Andalou, this is a difficult task, as it really has no plot. It jumps backward and forward in time, place to place, character to character, and

Un Chien Andalou: Desire as a Prisoner Un Chien Andalou “describes the dramatic collision between desire and the object of desire” (Buache 10). Luis Buñuel and Salvidor Dali wanted to represent a labyrinth of desire in its various forms by constructing a psychoanalytical surrealist film, thus creating Un Chien Andalou. The whole surrealist thought is the omnipotence of desire; though how powerful it may be, it is able to be imprisoned by the enigmatic, dream-like structure portrayed by surrealist

Un Chien Andalou Analysis: The film Un Chien Andalou, released in 1929, was the first attempt to create a surrealist movie, because films produced before were a reflection of the real world. It was collaboration between Luis Bunuel and Salvador Dali. In this film messages are encoded by the producer which is to be decoded by the viewer. As Bunuel states, “NOTHING, in the film, SYMBOLIZES ANYTHING”; if one breaks this sentence down: “NOTHING … SYMBOLIZES ANYTHING,” this means that people can bring

unconscious mind. Symbols and motifs as well as the framing and layering of images were two primary approaches artists used to represent this experience, as exhibited in Salvador Dali and Luis Buñuel’s surrealist film Un Chien Andalou (1929) and a clip from Fritz Lang’s M (1922). Un Chien Andalou’s use of symbolic images and motifs is extremely prominent, making up much of the film, which has no cohesive narrative. However, the images presented in the film are intended to be interpreted through free

subconscious creativity, eradicating the line between dream and reality. The film “Un Chien Andalou” was extreme for 1929, because non-traditional art was passion of both Buñuel and Dali; therefore, they were driven to shock the common movie viewers by using bizarre surrealistic imagery in a film that was disjointed and disturbing to the masses, because of its purposeful bizarre symbolism and suggested eroticism. “Un Chien Andalou was born of the encounter between my dreams and Dali’s.” , says Luis Bunuel

Un Chien Andalou In Un Chien Andalou (1929), Luis Buñuel uses montage editing to put together a series of surreal images to create what the audience can interpret as a love story. The theme being expressed in Un Chien Andalou is that love is something that is irrational, unexplainable, and considering the fact that it is a surrealist film, love is surreal. Along with the montage technique, I will also discuss Buñuel’s use of camerawork like the long shots used throughout the film, music, acting style

Un Chien Andalou as Surrealist Film Un Chien Andalou was created by Luis Bunuel and Salvador Dali to be both disturbing and thought-provoking, and the effect is one that epitomises the surrealist film movement of the late 1920s and 30s. The surrealist movement was born out of a hatred for the regimes and order that, according to a group of people from all over Europe known as Dadaists, caused the First World War (Elger and Grosenick 8). This essay will discuss how this group’s refusal of all things

Last week's film was Un Chien Andalou, written by Luis Bañuel in collaboration with artist Salvador Dali and released in 1929 France. This film, for me, was a jarring introduction to the world or Surrealism, which I think most likely was Bañuel and Dali's goal. In the traditional sense of the word, the film has absolutely no plot and seems to flash from scene to scene with no rhyme or reason whatsoever. The first scene opens with a title card that reads "Once upon a time" and switches quickly to

Clip Analysis This clip is from the 1929 movie, Un Chien Andalou. This film uses two specific formal choices that illustrate it’s surrealism, including discontinuity editing and close-ups. Discontinuity editing in this film went against Hollywood’s continuity rules of seamlessly blending scenes together that not only made narrative sense, but visual sense as well. However in Un Chien Andalou, these rules are broken by obscure, random images that don’t seem to fit together and lack any narrative sense

Un Chien Andalou Hands and ants repeatedly appear in the film. The metaphors behind them are meaningful for viewers to understand the whole film. In fact, the reason why I am interested in figuring out the metaphors of hands and ants is that I could not understand this film when I first watched it. Un Chien Andalou was created under the cultural movement called surrealism which was “drew liberately on Freud’s theories concerning the unconscious and its relations to the dreams.” (Chilvers, 2009)