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Title: Psychological modernity and the filmic project of the surrealists, 1918-1930
Author: Lackey, S. C.
ISNI:       0000 0001 3603 6134
Awarding Body: University of Manchester
Current Institution: University of Manchester
Date of Award: 2004
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This thesis examines the importance of a psychological conception of modernity for the filmic project of Surrealism. It posits two motivations behind this theorisation, the first as the surrealists' interest in the developments of psychology and the seconds as contemporaneous emphasis on the film as inherently connected to the machinations of the mind. Additionally, it explores the surrealist use of tropes from early filmmaking to suggest they recognised the filmic form as open and fluid, unconstrained by the boundaries of medium specificity. Chapter One examines surrealist film through the analogous trope of automatism and concludes that for the surrealists, filmmaking was understood as a solution to the problems of this method of production. Chapter Two extrapolates from this argument to suggest that the film scenarios are implicated in the desagregation of the self that has been identified as an integral facet of automatism. Chapter Three proposes an aesthetics of attention and distraction, whereby the lack of a stable subjectivity is played out in the attentive strategies of the film. Chapter Four explores the representation of memory and temporality as filmic paradigm and demonstrates that Surrealism appropriated this dimension of visual representation into their attempts to disrupt filmic diegesis and produce an embodied spectator.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available