Un Chien Andalou (1929) by Luis Buñuel and Salvador Dalí скачать в хорошем качестве

Un Chien Andalou (1929) by Luis Buñuel and Salvador Dalí

Un Chien Andalou (An Andalusian Dog) is a 1929 Franco-Spanish silent surrealist short film by Spanish director Luis Buñuel and artist Salvador Dalí. It was Buñuel's first film and was initially released in 1929 with a limited showing at Studio des Ursulines in Paris, but became popular and ran for eight months. Un Chien Andalou has no plot in the conventional sense of the word. The chronology of the film is disjointed, jumping from the initial "once upon a time" to "eight years later" without the events or characters changing. It uses dream logic in narrative flow that can be described in terms of then-popular Freudian free association, presenting a series of tenuously related scenes. Development The screenplay of the film “Andalusian Dog” is based on two dreams of its creators Luis Bunuel and Salvador Dali. The idea for the film began when Buñuel was working as an assistant director for Jean Epstein in France. Buñuel told Dalí at a restaurant one day about a dream in which a cloud sliced the moon in half "like a razor blade slicing through an eye". Dalí responded that he had dreamed about a hand crawling with ants. Excitedly, Buñuel declared: "There's the film, let's go and make it."[3] They were fascinated by what the psyche could create, and decided to write a script based on the concept of suppressed human emotions.[3] The title of the film is a hidden reminiscence from the Spanish saying: "the Andalusian dog howls-someone has died!” The screenplay was written in a few days. According to Bunuel, they adhered to a simple rule: “Do not dwell on what required purely rational, psychological or cultural explanations. Open the way to the irrational. It was accepted only that which struck us, regardless of the meaning ... We did not have a single argument. A week of impeccable understanding. One, say, said: "A man drags double bass." “No,” the other objected. And the objection was immediately accepted as completely justified. But when the proposal of one liked the other, it seemed to us magnificent, indisputable and immediately introduced into the script.” In deliberate contrast to the approach taken by Jean Epstein and his peers, which was to never leave anything in their work to chance, with every aesthetic decision having a rational explanation and fitting clearly into the whole, Buñuel made clear throughout his writings that, between Dalí and himself, the only rule for the writing of the script was: "No idea or image that might lend itself to a rational explanation of any kind would be accepted." He also stated: "Nothing, in the film, symbolizes anything. The only method of investigation of the symbols would be, perhaps, psychoanalysis." In his 1939 autobiography Buñuel said: "In the film the aesthetics of Surrealism are combined to some of Freud's discoveries. The film was totally in keeping with the basic principle of the school, which defined Surrealism as 'Psychic Automatism', unconscious, capable of returning to the mind its true functions, beyond any form of control by reason, morality or aesthetics." Filming The film was financed by Buñuel's mother, and shot in Le Havre and Paris at the Billancourt Studios over a period of 10 days in March 1928. It is a black and white, 35mm, silent film, with a running time of 17 minutes, although some sources state 24 minutes, and a physical length of 430 meters. For many years (and still), published and unpublished reports have circulated that Buñuel had used a dead goat's eye, or that of a dead sheep, or of a dead donkey, or other animal, in the notorious eyeball-slicing scene. However, in an interview in 1975 or '76, Buñuel claimed that he had used a dead calf's eye. Through the use of intense lighting, and bleaching of the calf's skin, Buñuel attempted to make the furred face of the animal appear as human skin. During the bicycle scene, the woman who is sitting on a chair, reading, throws the book aside when she notices the man who has fallen. The image it shows when it lies open is a reproduction of a painting by Vermeer, whom Dalí greatly admired and often referred to in his own paintings. In Buñuel's original script, the final shot was to feature the corpses of the man and woman "consumed by swarms of flies". However, this special effect was modified due to budget limitations, with the film ending with a still shot of the man and woman, who had been walking in the previous beach scene, half-buried in the sand and apparently dead. The movie contains several thematic references to Federico García Lorca and other writers of that time. For example, the rotting donkeys are a reference to the popular children's novel Platero y yo by Juan Ramón Jiménez, which Buñuel and Dalí hated. Anthropologist Jean Rouch has reported that after filming was complete, Buñuel and Dalí had run out of money, forcing Buñuel to edit the film personally in his kitchen without the aid of a Moviola or any other technical equipment.[20]