This brief note examines some cases of mise en abyme in three key film texts of 1929: Dziga Vertov’s Man with a Movie Camera, Luis Buñuel and Salvador Dalí’s An Andalusian Dog and Federico García Lorca’s Trip to the Moon. These works fulfilled the desire for total art that had been pursued by every historical avant-garde: to crystallise in a new art form, celluloid, an intermedia synthesis between different sign systems and media.
"1929: técnicas de abismación en El hombre de la cámara, Un chien andalou y Viaje a la luna"
Daniele Corsi
2024-01-01
Abstract
This brief note examines some cases of mise en abyme in three key film texts of 1929: Dziga Vertov’s Man with a Movie Camera, Luis Buñuel and Salvador Dalí’s An Andalusian Dog and Federico García Lorca’s Trip to the Moon. These works fulfilled the desire for total art that had been pursued by every historical avant-garde: to crystallise in a new art form, celluloid, an intermedia synthesis between different sign systems and media.File in questo prodotto:
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Articolo Buñueliana 3.pdf
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