Un Chien Andalou (1929, dir. Luis Buñuel)

"The simplest surrealist act consists in going into the street with revolvers in your fist and shooting blindly into the crowd as much as possible. Anyone who has never felt the desire to deal thus with the current wretched principle of humiliation and stultification clearly belongs in this crowd himself with his belly at bullet height."

-André Breton, Second Manifesto of Surrealism (1929)

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Bunuel one day tells Dali about his dream in which a cloud sliced the moon in half “like a razor blade slicing through an eye”. Dalí responded that he’d dreamed about a hand crawling with ants. They were fascinated by what the psyche could create, and decided to write a script based on the concept of suppressed human emotions. (wiki)

“I am eye. I am a mechanical eye. I, a machine, am showing you a world, the likes of which only I can see.”— Dziga Vertov (1896 - 1954)

Left to right, top to bottom:

Man With a Movie Camera (Dziga Vertov, 1929)
Un Chien Andalou (Luis Buñuel, 1929)
Meshes of the Afternoon (Maya Deren/Alexander Hammid, 1943)
The Spiral Staircase (Robert Siodmak, 1945)
Vertigo (Alfred Hitchcock, 1958)
Psycho (Alfred Hitchcock, 1960)
Peeping Tom (Michael Powell, 1960)
Alphaville (Jean-Luc Godard, 1965)
Repulsion (Roman Polanski, 1965)
2001: A Space Odyssey (Stanley Kubrick, 1968)
McCabe & Mrs. Miller (Robert Altman, 1971)
Deep Red (Dario Argento, 1975)
Rubens (Roland Verhavert, 1977)
Blade Runner (Ridley Scott, 1982)
Requiem for a Dream (Darren Aronofsky, 2000)
Donnie Darko (Richard Kelly, 2001)
Gangs of New York (Martin Scorsese, 2002)
The Diving Bell and the Butterfly (Julian Schnabel, 2007) 

(via David Liu)

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