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A 9 page research paper that examines how David Lynch's 1986 film Blue Velvet incorporates the tenets of surrealism as laid down by such leaders in this movement, such as Andre Breton. An examination of this film, based on a surrealistic perspective, demonstrates how this movie makes the everyday seem strange and raises questions about the unconscious activity of the spectator. Bibliography lists 6 sources.
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9 pages (~225 words per page)
File: D0_khbluvel.rtf
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writers who offer an alternative vision of reality, in which everyday life takes on aspects of the uncanny and challenges the reader/observer to see the world in a new perspective.
Andre Breton, a leading light of this artistic movement, states that he believed that it was possible to have a "resolution of dream and reality, which are seemingly contradictory, into
a kind of absolute reality, a surreality" (1969, p. 14). This surrealistic perspective can still be seen in avant garde art, from painting to photography to film. One prime example
of surrealistic cinema is David Lynchs film Blue Velvet (1986). An examination of this film, based on a surrealistic perspective, demonstrates how this movie makes the everyday seem strange and
raises questions about the unconscious activity of the spectator. Surrealism Surrealism emerged from Paris in the mid-1920s, and could be initially characterized as being more united in opposition to
the prevailing social conditions than by a common artistic purpose (Gott, 1993). World War I and its cataclysmic world changes were deeply influential on the formation of the surrealistic perspective,
causing Sidra Stich to offer this definition: "Surrealism was truly in and of life, and vividly manifest in the haunting images of dislocation and man-made destruction that were part of
everyday life" (Gott, 1993, p. 126). However, the surrealists were not only disturbed by the horrors of war. They were equally troubled by the reassertion of middle-class values and morality
after the war -- conventions that were viewed as a "straitjacket" whose effected had to be "combated at all costs" (Gott, 1993, p. 126). Actually, the vehement reaction to
traditionalism came from surrealisms predecessor, dadaism, which was the direct product of the disillusionment, defeatism and insane butchery of World War I (Fleming, 1974). Artists of that period felt that
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