{"id":100,"date":"2023-10-02T19:44:54","date_gmt":"2023-10-02T19:44:54","guid":{"rendered":"https:\/\/scholarblogs.emory.edu\/exfm2023\/?p=100"},"modified":"2023-10-02T19:44:55","modified_gmt":"2023-10-02T19:44:55","slug":"week-3-searcher-post","status":"publish","type":"post","link":"https:\/\/scholarblogs.emory.edu\/exfm2023\/2023\/10\/02\/week-3-searcher-post\/","title":{"rendered":"Week 3: Searcher Post"},"content":{"rendered":"\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Emak-Bakia (1926) - directed by Man Ray\" width=\"750\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/RAwwXVAQt-Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>This is Man Ray\u2019s <em>Emak-Bakia<\/em> (1926). This film contains a lot of mechanical repetitive motions that reminds me of the patterns in <em>Le Retour \u00e0 la Raison<\/em> (1923). The sculptures that appear are by Pablo Picasso. In addition, the film\u2019s cinematography style is precisely how Man Ray would shoot still objects and people.<\/p>\n\n\n\n<p>Man Ray and the other artists\u2019 films we watched in class have many aspects in common, like the fascination with machines, abstract patterns or visual repetition. Man Ray is also an influential figure for Surrealism movement. He worked as the cinematographer of Ren\u00e9 Clair\u2019s <em>Entr\u2019acte<\/em> (1924) and left a notable signature on the film\u2019s visuals. It should be interesting to explore another film by him.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Salvador Dali Dream Sequence from Spellbound (1945)\" width=\"750\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/JyPe1Jahyfo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Since we are going to explore Dali\u2019s work, it should be evident that the video I linked is a piece of work from his hand. This is a sequence from his collaboration with Alfred Hitchcock in the film <em>Spellbound<\/em> (1945). I believe this video holds value in understanding Dali\u2019s artistic and aesthetic tendencies. The film is deemed a psychoanalytic thriller that delves into the subconscious and how it affects real life. Generally, the film\u2019s significance lies in psychoanalysis, which is what we need to use to comprehend Dali\u2019s films.<\/p>\n\n\n\n<p>Dali\u2019s artistic endeavors, encompassing paintings and films, exhibit profound connections to the subconscious and dreams. The film sequence can provide a fundamental view of his distinct artistic style that resembles his paintings. Numerous visual elements also repetitive in his paintings appear in the film. For example, eyes, wheels, and distortion. Interestingly, different from in <em>Un Chien Andalou<\/em> (1929) Dali decides to cut the eyeball with scissors instead of \u201cslicing\u201d it up. This film sequence losses some of Dali\u2019s sharp and shocking approach utilized in <em>Un Chien Andalou<\/em> but takes on a milder method to embrace the irrational dream.<\/p>\n\n\n\n<p>At last, there is an anecdote: Hitchcock was hoping for vividness for dreams, however, as he told Fran\u00e7ois Truffaut in 1962, \u201cBut Dal\u00ed had some strange ideas; he wanted a statue to crack like a shell falling apart, with ants crawling all over it, and underneath, there would be Ingrid Bergman, covered by the ants! It just wasn\u2019t possible\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This is Man Ray\u2019s Emak-Bakia (1926). This film contains a lot of mechanical repetitive motions that reminds me of the patterns in Le Retour \u00e0 la Raison (1923). The sculptures <a class=\"more-link\" href=\"https:\/\/scholarblogs.emory.edu\/exfm2023\/2023\/10\/02\/week-3-searcher-post\/\">Continue Reading &rarr;<\/a><\/p>\n","protected":false},"author":8565,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23,8],"tags":[],"class_list":["post-100","post","type-post","status-publish","format-standard","hentry","category-intro-to-exfm","category-searcher"],"_links":{"self":[{"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/posts\/100","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/users\/8565"}],"replies":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/comments?post=100"}],"version-history":[{"count":1,"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/posts\/100\/revisions"}],"predecessor-version":[{"id":101,"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/posts\/100\/revisions\/101"}],"wp:attachment":[{"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/media?parent=100"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/categories?post=100"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/exfm2023\/wp-json\/wp\/v2\/tags?post=100"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}