December 4, 2013 · Print This Article
GUEST POST BY AUGUST EVANS
“Cinema is a wonderful way of expressing dreams.”Â Â Â Â Â Â -Phillipe Soupault, founding surrealist
Here in Bloomington, IN, the December midnight screening series at the renowned IU Cinema, “More Human than Human,” is poised to screen David Lynchâ€™s prequel (and conclusion) to the cult television series,Â Twin Peaks: Fire Walk with Me.
Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Photo Courtesy: lynchnet.com
The IU Cinema describes Lynch’s 1992 film as “part neo-noir, part family melodrama, part surreal horror movie.” The descriptor “surreal” comes up more often than not in describing most any Lynch project–from an early film likeÂ Eraserhead,Â to a later work likeÂ Blue Velvet,Â or in any general summary ofÂ Twin Peaks–to a more recent foray into the song and accompanying film, “Crazy Clown Time.”
As much as the term “surreal” is used to describe the Lynchian universe, I wonder how such constant use might be making “surreal” into a Lynch-like genre, as equally identifiable as noir:
Photo courtesy: Noir Film Festival Dubrovnik
But in the way that we identify the above as a decidedly noir photo still, what qualities make a film “surreal,” other than there being something bizarre, non-linear, oddly juxtaposed about it?
LynchÂ has come to be known for his “surrealistÂ films”. His Wikipedia page claims he’s developed his own unique cinematic style, dubbed â€˜Lynchianâ€™, characterized by dream imagery and meticulous sound design. The surreal, and in many cases, violent, elements contained within his films have been known to “disturb, offend or mystify” audiences.”
But even though Lynch’s films are unmistakably surreal, are they surrealist?
Surrealist cinema, with origins in Surrealism, a movement that coincided with the birth of motion pictures, whose originators grew up alongside the first films, defines itself as being unable to be defined by style or form, ever-shifting and incongruous.
Only three films were actually ever designated â€œexclusively surrealist productions,â€ created in the throes of the movement and in keeping with its tenets: Germaine Dulacâ€™s La coquille et le clergyman (original scenario by Antonin Artaud), Luis BuÃ±uelâ€™s Lâ€™Ã¢ge dâ€™or, and what might be deemed the quintessential surrealist film, BuÃ±uel and Salvador DalÃ¬â€™s Un chien andalou.
Though not necessarily â€œbetterâ€ than any blatantly produced generic film, Un Chien AndalouÂ is undoubtedly â€œdifferentâ€ than such films created under the commercial conditions and restraints of Hollywood. There is no doubt that the film was self-consciously produced, and subsequently consumed, against the mainstream generic model. Film theorist Steve Neale suggests Un chien andalou â€œflaunted the genre system predominant in Europe at the time it was madeâ€¦the genre â€˜narrative feature filmâ€™, and the genres of the contemporary European art filmâ€¦BuÃ±uel, claimed it was not even an instance of avant-garde filmmaking, but rather â€˜a desperate appeal to murder.â€
Surrealism strikes me as an ideology akin to an artistsâ€™ movement, rather than a publically discussable genre. As Luis BuÃ±uel wrote, the group sought â€œto explode the social order, to transform life itself,â€ an aim far more expansive than a simple generic label.
Any attempt to place the weight of genre upon an artistsâ€™ movement like Surrealism presents problems, considering the aims of the first (and possibly only) surrealists were to explode the bourgeois order. Indeed, these initial surrealist films achieved something very unique, specific, and particular to the artistsâ€™ movement out of which they emerged. Toby Sussman deems these early films â€œthe pinnacle of the Surrealist filmsâ€¦the representation of the total passion of a human event pushed beyond previously known limitsâ€¦resulting in a beautiful new world of images existing somewhere between the amorphous intractability of dreams and the cold acceptance of everyday consciousness”:
Contemporary Czechoslovakian filmmaker, Jan Å vankmajer, has called himself a â€œmilitant surrealist.â€And yet, in his 2007 essay about the filmmaker, Jan Uhde calls him â€œone of the most significant living directors of non-mainstream and experimental film animation,â€ and cites Surrealism only as â€œa major influenceâ€ on Å vankmajerâ€™s film style. The first surrealists were nothing if not a collective, making Å vankmajerâ€™s participation in an actual group a notable link.
The experimental films of Maya Deren could certainly fit into this category as well. Deren combined her interests in dance, voodoo and subjective psychology in a series of perceptual, black and white short films. As an independent distributor, Deren exhibited and presented lectures on her films across the United States, Cuba and Canada. In 1946 she booked the Villageâ€™s Provincetown Playhouse for a public exhibition. Deren titled the exhibition: â€˜Three Abandoned Films â€“ a showing ofÂ Meshes of the Afternoon,Â At LandÂ &Â A Study in Choreography for the Cameraâ€™. Deren took the word â€˜abandonedâ€™ to refer to Guillaume Apollinaireâ€™s observation that a work of art is never completed, just abandoned. Whilst the title was ironic, the exhibition was successful.
Yet Deren actively rejected categorization as a surrealist, refused the definition of her films as formalist or structuralist. To label her films as surrealist brings up the same situation of Lynchâ€™s distancing himself from the term in interviews, and summons the origins of the artistsâ€™ movement, people who based a huge amount of their identities on their active alignment with an ideology via Bretonâ€™s definitive manifestoes. Indeed, Derenâ€™s request that her films shall not be called surrealist clashes logically with the crucial foundations of the artistsâ€™ movement, especially in considering how actively its practitioners self-identified as surrealist.
It seems to me that surrealism exists as a state of mind rather than a genre-form. Both dada and surrealism have been defined by their adherents as attitudes of thought as opposed to formalist or strictly cohesive artistic styles, and the artists were therefore committed to obtaining new effects by experimentation, recording accidental events resulting from improvisation.
Photo courtesy: lynchnet.com
Michael Richardson writes, “the surrealist necessity is to make Marx’s demand for the ‘transformation of the world’ and Rimbaud’s demand to ‘change life as one and the same thing.” The Surrealists’ belief that “poetry should be made by all not one” required broader societal change and helps explain the movement’s close identification with various shades of left-wing thought. The publication of numerous, often difficult, sometimes perplexing, manifestoes should be understood within the context of the turbulent politics of the interwar years.
Excluding Å vankmajer, few filmmakers take such rare and raw revolutionary risks today. The essence of surrealism, refusing to be hereÂ but alwaysÂ elsewhere, makes me wonder whether a film like Lynch’s Twin Peaks:Â Fire Walk with MeÂ should be included among those forerunners. Though the film teems with dreamlike, non-linear imagery, it contains its share of gratuitous nudity and standard plot turns. To align with the originary notion of surreal, the film should explode the social order, force the viewer somewhere new and perplexing. WhetherÂ Fire Walk with MeÂ explodes any staid order,Â I have yet to know. What I do know is there is something very different about it, which may be enough to count as surreal.
August Evans has written in Mexico, Sweden, and Aix-en-Provence, France, where she taught English before returning to the U.S. to complete her Masters of Humanities degree at the University of Chicago. She has taught college English and Humanities in Chicago, and studied fiction writing at the University of Illinois at Chicago. Currently she is an MFA candidate at Indiana University, Bloomington. Her fiction and book reviews may be found inÂ HTMLGiant, Melusine,Â andÂ Monkeybicycle.
The following essay by Dylan Trigg was published by The White Review.
THE GHOSTS OF PLACE
â€™So I turned around for an instant to look at what my field of vision onto the sea had not offered up: the heavy grey mass where traces of planks lined up along the inclined ramp like a tiny staircase. I got up and decided to have a look around this fortification as if I had seen it for the first time, with its embrasure flush with the sand, behind the protective screen, looking out onto the Breton port, aiming today at inoffensive bathers, its rear defence with a staggered entrance and its dark interior in the blinding light of the gunâ€™s opening toward the sea.â€™Â â€“Â Paul Virilio,Â Bunker Archaeology
IT IS OCTOBER 2010 AND I AM IN THE KITCHEN OF AN OLD HOUSE IN SUSSEX. FROM THE KITCHEN, A DOOR LEADS TO THE HALLWAY. SUDDENLY THE DOOR BEGINS TO SWAY FROM SIDE TO SIDE. AT FIRST, I THINK NOTHING OF IT AND PUT IT DOWN TO A BREEZE FROM ANOTHER ROOM. BUT THEN THE SWAYING BECAME MORE DELIBERATE, AS IF A PRESENCE WERE TRYING TO COMMUNICATE FROM AFAR. THE DOOR MOVES TO ONE END, PAUSES FOR A SECOND, AND THEN PROCEEDS TO RETURN TO THE OTHER SIDE. TO AND FRO IT MOVES, UNTIL SUDDENLY, AND WITHOUT WARNING, IT STOPS. AS I STAND TO INVESTIGATE, AN IRIDESCENT LIGHT FILLS THE HALLWAY, AND A TALL SILHOUETTE CLAD IN BLACK SLOWLY CROSSES THE LANDING BEFORE DISAPPEARING INTO THE BRICK WALL. IN RESPONSE, THE SKIN ON MY BODY BECOMES CLAMMY WITH ANXIETY, WHILE THE HAIRS BEGINNING AT THE BASE OF MY HEAD AND EXTENDING TO THE LOWER REACH OF MY NECK RECOIL, AS IF THEY HAD GRASPED SOME KIND OF HORROR THAT I WAS STILL IN THE PROCESS OF EXPERIENCING. ONE MINUTE LATER, I AM ON THE STREET.
Disturbed by the vision, I look at the house from the vantage point of the outside. If the figure has come to me in a moment of private intimacy, then I am sure it would not follow me down the stairs and onto the other side of the street, and thereby expose itself to the public gaze. On the contrary, I am fairly convinced it is still inside, likely oscillating between the landing on the hallway and the kitchen, whereÂ â€“Â so I assumeÂ â€“Â it may have once encountered some kind of trauma that led it to being affixed to this place in time.
How many other people had seen the figure since the conception of the house in the fifteenthÂ century? Numerous people no doubt through the centuries, each of whom will have had their own story to tell. In addition, all of these people will have had their own interpretation of the figure, from the seventeenth century interpretation of spectres as restorers of social injustices of the living to the nineteenth century interpretation of the such sights as a figure of death that refuses to die, thus offering hope that in an increasingly secularised age, life after death remains possible.
In all this, I may well form part of a historical community that will have encountered this vision in this particular place, 70 High Street, Lewes, Sussex. What did the figure want from us all: to testify to its mournful existence, to become its voice, or simply in the act of affecting another person, to remind itself that it still holds the power to form an alliance with the living? And why did it choose us? Are we in some sense more receptive to the troubled dreams of those who refuse to die than other people? Did the figure sense an anxiety within each of us that renders our senses more attuned to ambiguous forms of life?
What is a ghost? The question has gained a particular value in the last decade or so owing to the influence of Derridaâ€™s concept of hauntology, a pun on ontology referring to the spectre of Marxism. As it is understood in a post-Derridean context, the concept refers to a broad range of cultural phenomenon characterised, above all, by a certain collapse in the spatio-temporal order, signalling the radical collision of old and new. It is a Ballardian vision of time, in which the end has already occurred and we are nowÂ â€“Â perhaps unknowinglyÂ â€“Â living in its shadow.
The term figures in a variety of mediums, from the archival restoration of â€˜abandonwareâ€™ and â€˜dead techâ€™, to the music of both Caretaker and the retro pastiche of Belbury Poly together with the associated Ghost Box Music label. In films, the theme is evident in works such as Peter Weirâ€™sÂ Picnic at Hanging RockÂ (1975) and Nic Roegâ€™sÂ Donâ€™t Look NowÂ (1973). Alongside these mediums, the image of the urban ruin being reclaimed by wild mangroves, the drained swimming pool of an abandoned hotel, and the decommissioned remains of war bunkers would all be central motifs for the hauntologist. In each of these forms, the hauntological aesthetic plays out in terms of an appeal to the uncanny: that is, to the re-emergence of what was originally repressed, but only nowâ€”through an accidental rupture in the presentÂ â€“Â comes to light. Such an aesthetic has its roots in Freud, and can then be mapped out in the work of surrealists and their usage of anachronism, before then resurfacing in Walter Benjaminâ€™s philosophy of history, which will later re-appear once more in the works of W. G. Sebald, and in a contemporary guise, in artists such as Cyprien Gaillard and Gregory Chatonsky. (read more)