2. Dreams and the subconscious
Many of Bunuel’s films contain dream or fantasy sequences; some of his films do not
clearly indicate whether we (the audience) are watching a dream or ‘reality’
Eroticism and fetishism
Bunuel had a reputation of being a sadist with a taste for sexual violence. In his films
we often see drugged or hypnotised women; his female protagonists are seduced by
older men in positions of power. Bunuel is also reputed to have had a fetish for
women’s feet and high-heeled shoes. There is regular use of close-up shots of
women’s legs and feet in his films
Religion
Religious themes recur in nearly all of his films. We see priests and nuns treated with
irreverence and distain. We also see a host of religious symbolism; crucifixes, religious
robes and religious ceremonies (weddings and funerals)
3. Voyeurism
In Bunuel’s films, characters are often peering through key holes or around doors.
Characters view the world through windows and bars, and as viewers we are often
implicated in this voyeurism.
The Body
Physical disabilities feature in many of Bunuel’s films; artificial limbs, crutches and
facial disfigurement may be central to the narrative or appear as secondary elements.
The camera often dwells on close-ups of the hands and feet. Un Chien Andalou
features a severed hand.
Birds and Beasts
Bunuel studied entomology and insects often appear in his films. A range of other
animals appear in his films, often in unusual situations: dead donkeys in pianos; cows
in bedrooms’ a bear and a sheep in the dining room.
4. Everyday Objects and Activities
These are often imbued (or given) magical or mysterious qualities. People in the film may revere
the objects as though they hold valuable secrets or information. We often see characters eating
fruit, playing the piano or sewing. Mysterious boxes appear in his films such as the striped box in
Un Chien Andalou.
Activity:
Do these themes and obsessions occur in Un Chien Andalou? Why do you think they
are there? What purpose (if any) do they serve the narrative of the film? How do you
(as spectator) respond to the imagery? Would your response please Bunuel? Cut and
paste screen grabs from the film. You will then be able to see if they recur in L’Age D’or.
5. Surrealism and Spectatorship
Surrealist films are disconcerting for the spectator. Realist elements such as aspects of mise-en-
scene, camerawork, editing techniques (such as eye-line match, shot/reverse/shot structure,
graphic match) are familiar from mainstream Hollywood cinema.
These realist features are then juxtaposed with surreal imagery and jump cuts that disorientate,
repulse, confuse and/or humour the spectator.
To what extent is this true in Un Chien Andalou? Find examples of realist cinema techniques.
Find examples of surrealist cinema techniques.
Present your results in a table with screen grabs:
Realist Affect on the Surrealist Affect on the
techniques spectator techniques spectator
