-Jean Vigo
Then our autopsy revealed that the dream has its own manifesto and a secret agenda.Dream surely will attack on a seemingly simple one-line transparent narrative of us.We are in danger. Do the corpses of those simple narratives buried in the dark, remain somewhere in our mind subconsciously in any form?From that guilt of this assassination and in its atonement do we arrange a different narrative presentation and consequent tendency in our art?This question is based on the traditional conflict between dreams and reality which is also reflected in our movies from since behind.
The history of cinema is infact, the history of the absolute domination of sight,isn't it? From that history,thought architecture is still bearing the mark of the might of European reality.When Eisenstein's warships landed at the port of Cinema, we immediately immortalized that thought architecture.However, it takes time to come to the conclusion that reality is not a sensory guarantee, it is a relative plural voice. Our mind which is overwhelmed with bourgeois taste, awoke atonce in shock in a contest when Baudelaire,
Lorca or Eluard tried to place the soul of art on Cobra's tongue.'The Creator will no longer play the role of God.He will search for another light and another sound"-that was the moto of theirs .In one fine twilight, between the two world wars,One Louis Bunuel also released a ferocious dog in our aesthetically decorated self-contained room to shatter our thoughts and philosophy of century.And,after that?...
...Movie hold the hand of surrealism like a cheater boyfriend,stabbing the reality from the back .In the meantime, the Impressionist-style French movies were trying to break our familiar habits.Once again, expressionism became the mainstay of German cinema.Bunuel says that if surrealism did not come, it wouldn't be possible to call the UniChienAndalou. Surrealism however, to him was not merely an art form but a morality from which he had severed all ties between religion and politics, love and sex.
With the scene of destruction of an eyeball,ripped through the middle by a razor, Bunuel meant that he wanted to expose the underlying truth of the scene by tearing apart the extraterrestrial reality that the eye sees.A cyclist on a deserted street in Paris, a broken palm lying on the street, two donkey's carcasses, two tied pianos, insects crawling out of a hand stuck in the doorway, why says differently?
Because those cinema wanted to shatter all our well-established narratives about love, sex and religion by ruthless sharp satire.Symbols killed our collective myth with metaphors. Like a dream, seemingly causal relationships painted a picture of the despicable secret world of lust and passion.The inhabitants of this world were running like a snake in search of prey behind the beautiful masks of civilization. The scenario evoked unexplained excitement and liberation. We were witnessing the ultimate despair and madness.
Brett said in his 'Second Manifesto of Surrealism', 'We should jump down the street with a pistol in hand, aim the crowd, and pull the trigger with joy'.In short, this is the simplest surreal activity.Dali said that the arrogant audience accepted the cinema without knowing the moral position of the film, perhaps because they were the victims of the brutality of that Andalusian dog.
More than half a century has passed since World War II ended.We have brought back now to the barren ice age of art that has forced to enter the cinema into the stagnant world of Dali and Buluel's time.We are in a state of complacency. At every moment, in the midst of shameless propaganda of freedom, religion, politics, sexuality, in the form of pieces of chain built by the state, are clinging to us like a joke.
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