초현실주의 영화미학의 전개와 현재: 루이스 브뉘엘을 중심으로

Abstract

Through the division of the fantastic and the surrealism, the purpose of this paper is to analyze the concept of ‘reality of surrealist cinema’. By observation of the philosophical flow in the 1920s, this paper watch priority the development of the trend of surrealism. ‘Surrealism declaration (Manifeste du Surréalisme)’ of André Breton is based on all of these studies. From the 1920s until the 1960s, André Breton signed by the start and end of this artistic movement of surrealism. Breton's surrealist aesthetics does not contain the mystery of the transcendental reality. Instead it leans itself to the present reality. When referred to a ‘surreal’ in the modern, often it finds that the deterioration is different from the meaning of a word Breton intended. In fact, the surrealist tendencies were gradually changing and evolving after the beginning of the ‘pure surrealism’ in the 20's. Under the influence of psychology of Freud, surrealism is accompanied by the semantic analysis of the texture representing the surface of the film. This study is called 'the films on the affected surrealism' the trend of the 60's and 70's, and the trend of the 90's called ‘the films remaining traces of surrealism’. As it did the painting of primitive art to express the faith of the painter, surrealist film encompasses a logical area through Psychology. Therefore, contemporary surrealist films extended themselves between three types of signs: icon, index and symbol. However, the area of the signs, relationship to each other is excluded. This study focused on this final part. Surrealist films share the indistributable points of the rational boundary, separated by so-called ‘rational and irrational’ or ‘real and irreal’. Luis Bunuel's films will help this work.