Surrealism as an art form, emerging in Europe after World War One, was designed to be illogical, but appealing to the subconscious. In cinema, there's debate as to what was the first surrealistic film in history. But there's no doubt filmmaker Germaine Dulac's February 1928 "The Seashell and the Clergyman" could qualify as one of the first containing elements of surrealism in it.
The 40-minute film, about a member of the clergy who lusts after the wife of a general and attempts to suppress such thoughts, is a whirlwind of images disconnected from any plot. Members of the British Board of Film Censors were totally confused by the piece. They wrote Dulac's production was "so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable." The board banned the film in the United Kingdom. Even the book's author "The Seashell and the Clergyman" was based on, Antonin Artaud, a top avant-garde writer, frowned upon Dulac's version.
History, however, has proven more kind to "The Seashell and the Clergyman." Once other surrealistic films were released, most notably 1929's "Un Chien Andalou," whose makers claim was the first in that category, it was apparent that elements found in those films sprung from the images of Dulac's. The French feminist filmmaker, who earlier produced the highly-regarded 1922 "The Smiling Madam Beudet," now is recognized by film historians as the pioneer of surrealism. Her stated goal was to create a new "art of vision," one that through symbolic images reveal a series of metaphors. It was meant to stir the viewer's psyche. Dulac's objective in "The Seashell" was to create an entirely new visual language on the screen, addressing her audience members' unconsciousness. In that, many film critics agree, she succeeded.
The 40-minute film, about a member of the clergy who lusts after the wife of a general and attempts to suppress such thoughts, is a whirlwind of images disconnected from any plot. Members of the British Board of Film Censors were totally confused by the piece. They wrote Dulac's production was "so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable." The board banned the film in the United Kingdom. Even the book's author "The Seashell and the Clergyman" was based on, Antonin Artaud, a top avant-garde writer, frowned upon Dulac's version.
History, however, has proven more kind to "The Seashell and the Clergyman." Once other surrealistic films were released, most notably 1929's "Un Chien Andalou," whose makers claim was the first in that category, it was apparent that elements found in those films sprung from the images of Dulac's. The French feminist filmmaker, who earlier produced the highly-regarded 1922 "The Smiling Madam Beudet," now is recognized by film historians as the pioneer of surrealism. Her stated goal was to create a new "art of vision," one that through symbolic images reveal a series of metaphors. It was meant to stir the viewer's psyche. Dulac's objective in "The Seashell" was to create an entirely new visual language on the screen, addressing her audience members' unconsciousness. In that, many film critics agree, she succeeded.