Practice

• decide on final plan 
• research surrealism fashion films 
• gareth hugh
• choose music for it 
• create storyboard 
• find still images that inspire me for frames of the film

music ideas:

Create storyboard based on my own personal dreams

use starting point for the film as a white painted model moving her head around - special effects to make this look overlapped. 

avatar - futuristic films  - out of body identity

- start off with dreams being a couple of seconds long and finishing being longer 

background music could just be soft airy noises with a person reading the poem 'a dream within a dream'

- breathing sound effects to open up, poem in the middle, breathing noises at the end to finish.

- include a colidascope as part of the dreams to flash onto maybe?

marco brambilla


dissertation practice ideas:

use marco bramble's 'ghost' 2 minute film as a starting point.
use same concept as this,
- white painted model slow motion moving around, many faces in the shot like horses surrealism pics
- do slow mo of a painted white model clip for ages then for a couple of seconds at a time throughout shoot to sharp shots of my dreams - frame of one dream, - fast forwarded?

every 20-30seconds clip will change to a dream that i have had fast forwarded slightly/edited to look weird and surreal.

weird music

fashion films

Photographer and filmmaker Jez Tozer and designer Omer Asim team up for the second time to showcase Asim's work in a fashion film. For Spring/Summer 2015, the designer took inspiration from his long-standing fascination with Zar - an ancient Sudanese underground trance sub-culture dealing with trauma, hysteria and relief. Tozer's film takes its story from the same starting point and features performance artist Millie Brown, a long-time collaborator of Tozer who is known for her work with Lady Gaga, amongst others. It explores the traditional Sudanese ritual that women undertake to purge themselves of their evil spirits and to exorcise their repression and sexual frustration.

I like the idea of this film with the film rewinding on the hair as it creates surreal movements.
The way in which the model moves.
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GARETH PUGH

'Chaos' in the second in a trio of fashion films featuring Gareth Pugh S/S 15. It represents a dark menacing vision; a Pagan anarchy

horst and dali

 


salvador dali and horst p
1939, the dream of venus

David Hockney

Freud - unconciousness

The Unconscious

Main article: Unconscious mind

The concept of the unconscious was central to Freud's account of the mind. Freud believed that while poets and thinkers had long known of the existence of the unconscious, he had ensured that it received scientific recognition in the field of psychology. The concept made an informal appearance in Freud's writings.

The unconscious was first introduced in connection with the phenomenon of repression, to explain what happens to ideas that are repressed. Freud stated explicitly that the concept of the unconscious was based on the theory of repression. He postulated a cycle in which ideas are repressed, but remain in the mind, removed from consciousness yet operative, then reappear in consciousness under certain circumstances. The postulate was based upon the investigation of cases of traumatic hysteria, which revealed cases where the behavior of patients could not be explained without reference to ideas or thoughts of which they had no awareness. This fact, combined with the observation that such behavior could be artificially induced by hypnosis, in which ideas were inserted into people's minds, suggested that ideas were operative in the original cases, even though their subjects knew nothing of them.

Freud, like Josef Breuer, found the hypothesis that hysterical manifestations were generated by ideas to be not only warranted, but given in observation. Disagreement between them arose when they attempted to give causal explanations of their data: Breuer favored a hypothesis of hypnoid states, while Freud postulated themechanism of defense. Richard Wollheim comments that given the close correspondence between hysteria and the results of hypnosis, Breuer's hypothesis appears more plausible, and that it is only when repression is taken into account that Freud's hypothesis becomes preferable.^[117]

Freud originally allowed that repression might be a conscious process, but by the time he wrote his second paper on the "Neuro-Psychoses of Defence" (1896), he apparently believed that repression, which he referred to as "the psychical mechanism of (unconscious) defense", occurred on an unconscious level. Freud further developed his theories about the unconscious in The Interpretation of Dreams (1899) and in Jokes and their Relation to the Unconscious (1905), where he dealt with condensation and displacement as inherent characteristics of unconscious mental activity. Freud presented his first systematic statement of his hypotheses about unconscious mental processes in 1912, in response to an invitation from the London Society of Psychical Research to contribute to its Proceedings. In 1915, Freud expanded that statement into a more ambitious metapsychological paper, entitled "The Unconscious". In both these papers, when Freud tried to distinguish between his conception of the unconscious and those that predated psychoanalysis, he found it in his postulation of ideas that are simultaneously latent and operative.^[117]

http://www.slideshare.net/daniellefeige/surrealism-freud-and-the-world-of-dreams

The Psychiatrist 

My psychiatrist could answer the question as to why I paint such crazy pictures.
He told me that it is a phenomenon which is observed quite often, that people whose phantasy seems to be rather normal will turn out to have a phantasy which grows exponentially and which overflows when a monotonous, uninteresting environment does not stimulate the individual to develop in a meaningful and harmonious manner.

This overflowing phantasy may easily result in transforming these individuals into people who commit murder for fun or into ideologists and in some cases into surrealists.

Could it be that you spent your youth in a boring, non-stimulating environment? 

"No way", I said, "once we even went to the local museum!"




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Interpretations 

Highlights are not permanent.
In all collected works one can find results 
which are good or not so good as well as failures, which should not be shown.

A work of art should be convincing by itself.
Introductory words can help to better understand
a picture but one cannot explain the essence
of a picture just by the mere use of words. 

Explanations should be used sparingly, otherwise the impression may arise, that
a picture has to be explained and then the explanation may be more important than 
the picture.

This could happen. 

If someone fantasizes about mysteries and cosmic and sacred dimensions then one has 
to seriously examine the veracity of what was said. 

Sense and Nonsense 

I remember my very first try at surrealism. That was a long time ago.

It was a pencil drawing, not a serious endeavour - I just wanted to annoy someone with it. But then I was fascinated by the possibilities of forms which resulted unexpectedly in this crazy-game. 

The question arose:
Do such pictures have a deeper meaning apart from an possible esthetic charm? Are they retrieved indications from the subconscious pointing to other, strange realities? 

Or are they projections of ones own, unknown self? 

--------------------------------

The Nightmare 

Some years ago I dreamt that I was a cardinal, a venerable and dignified personality. 

A great many pious people humbly knelt before me, awaiting my most gracious blessing. 

Just as I was about to dispense the blessing, something welled up in me akin to doubtfulness; but there was no doubt, it was certainty: I know myself, I am the ass I have always been and will continue to be.

So I quickly escaped into awakening. 

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The Title 

Pictures need to have names. 
Numbers would also suffice
to make distinctions or for the purpose of cataloguing, but to
characterize and to talk about
a painting one needs to name it.

It could be lapidary and simply indicate what can be seen on the picture: 

"Lady with a blue shawl",
for instance.

In surrealism, a name could have several meanings.
It could bring an additional motif 
into play or direct the eye towards some specific direction, even to an erroneous one.
It can circumscribe or be ironic,
veil or unveil. 
It can simulate or disappoint,
be banal or poetic. 
It can clarify or be a play on words.

We often take a long time to come up with the right name, since it is unfortunate when a picture ends up with an unfitting name.


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The Unconscious 

Surrealism attempts to retrieve images from the unconscious; thanks to depth psychology we know that unconscious thought determines who we are to a much greater extent than conscious thought, and that it is not advisable to ignore this. 

But what does it mean, to retrieve images from the unconscious? How is this supposed to happen? 

We are all familiar with images from the unconscious, from myths and fairy tales, and from dreams. They are not realistic images but fantasies, strange, unreal, confusing, beyond our grasp. And they rely on symbols: memorable and compelling shapes and objects. Myths and fairy tales tell us about gods, giants, kings, paradise and the underworld.

In a dream I once walked with Stalin from Moscow to Paris.

The Surrealist uses all of these things as stylistic devices:
strong symbols, combinations of objects that don’t belong together, strangeness, novel shapes, questioning the familiar by undermining and fracturing it, ignoring spatial reality. 

Here is the recipe: 
paint existing and non-existent objects as exactly and with as much plasticity as possible. Combine them as incongruously as possible and put them into a space where they don’t belong. 

It’s that simple? 
In principle, yes.
But something is missing there:
Don’t make it too easy for yourself. 

Dreams 

Dreams and surrealism have the same origin:
The unconscious.
Because of it they also have much in common:
the unreal, defamiliarized, encoded, mysterious.
Surreal pictures often remind of dream situations. 
But dream situations hardly provide material for surreal pictures. 
In the dream I experience this and that but mostly ephemeral, nothing tangible which could be painted .

Once I was able to write down a lovely word I had dreamt, and had succeeded to rescue it into the waking state. 
It was only nonsense.
As a matter of fact dreams are not so "wonderful" . 
If they seem wonderful to us, it is because in most cases our control system does not work properly when we sleep. 

I don't know whether there are painters who see what they want to paint in their mind's eye. 
For my part I must sit down with paper, pencil and eraser draw for a long time, try and try again until I find a sketch which is acceptable.

Most dreams are rather inconsequential, incoherent, remainders of some memories and unmastered things 
from the events of the day.
"Great" dreams which have an impact and are bearers of important messages are rare and hardly ever suitable as models for a painting in spite of their impressive nature. This does not mean that they do not play a role in the artist's creative process. However it is very difficult to prove this and can only be surmised from case to case. 

Dreams

psychological interpretations in fashion
dreams - how are they influential in fashion and beauty
the deep meanings to dreams

FREUD - the interpretation of dreams

- watch the clip on dreams from this morning

- personality types, is there a pattern on fashion designers designs based on their personality type?
- what personality type do surrealists tend to have if they are similar at all?


- hologram of Kate moss 2006
- Alexander Mcqueens 'Moss' catwalk show


-The importance of dreams
- how dreams are interpreted
- surrealist cinema


Question ideas:
- 'How do dreams appear within contemporary fashion: surrealist fashion'
- How can contemporary fashion and makeup give shape to dreams? an exploration of surrealist fashion'

Surrealism

Photographers: 

Horst, Eugene Alget, Dora Kallmus, Raoul Hausmann, Man Ray, Andre Kertesz, Maurice Tabard, Germaine Krull, Erwin Blumenfeld, Jindrich Styrsky, Brassai, Herbert Bayer, Denise Bellon, Wols, Bill Brandt.

Artists:

Max Ernst, Hans Bellmer, Salvador Dali, Rene Magritte, Man Ray, Dorothea Tanning. 

Makeup artists:


Fashion Designers:

Comme des Garcons, Junya Watanabe, Gareth Pugh, Anton Belinskiy,  

Fashion Films:

Gareth Pugh

Gareth Pugh uses dancers in his Spring/Summer 2014 catwalk collection. They dance in a contemporary manner creating surreal shapes and movements. 

Bibliography

http://www.tate.org.uk/learn/online-resources/glossary/s/surrealism
- Surrealism at the Tate Gallery, London



http://www.vogue.co.uk/fashion/spring-summer-2015/ready-to-wear/comme-des-garcons/full-length-photos/gallery/1263132
Vogue: Comme des Garcons spring summer 2015 ready to wear 





http://www.emmanuellebrisson.com/

http://www.121clicks.com/photographers/EmmanuelleBrisson/#.VE4_TGQlnmE

http://www.slideshare.net/daniellefeige/surrealism-freud-and-the-world-of-dreams

Martin Stranka - raw space between dreaming and awakening
http://www.121clicks.com/photographers/MartinStranka/#.VE5Br2QlnmE



http://en.wikipedia.org/wiki/The_Interpretation_of_Dreams



http://www.artyfactory.com/art_appreciation/art_movements/surrealism.htm


http://lingerissimi.wordpress.com/2010/10/20/how-does-surrealism-affected-the-world-of-fashion/

Postmodernism

• What is postmodernism?
• How has postmodernism influenced modern fashion and beauty?
• Examples of Fashion designers that have been influenced by postmodernism. 
• Examples of Makeup artists that have been influenced by postmodernism.

Prada Spring/summer 2015 ready to wear collection: 'Past and future, old and new - and spine-tingling good' - Prada has created a collection for spring/summer 15, the description stating that it holds past and future trends. This is an interesting collection as this holds postmodern and futurism aspects. 

1. a late 20th-century style and concept in the arts, architecture, and criticism, which represents a departure from modernism and is characterized by the self-conscious use of earlier styles and conventions, a mixing of different artistic styles and media, and a general distrust of theories.

   
   

   Firstly, postmodernism was a movement in architecture that rejected the modernist, avant garde, passion for the new. Modernism is here understood in art and architecture as the project of rejecting tradition in favour of going "where no man has gone before" or better: to create forms for no other purpose than novelty. Modernism was an exploration of possibilities and a perpetual search for uniqueness and its cognate--individuality. Modernism's valorization of the new was rejected by architectural postmodernism in the 50's and 60's for conservative reasons. They wanted to maintain elements of modern utility while returning to the reassuring classical forms of the past. The result of this was an ironic brick-a-brack or collageapproach to construction that combines several traditional styles into one structure. As collage, meaning is found in combinations of already created patterns.

   Following this, the modern romantic image of the lone creative artist was abandoned for the playful technician (perhaps computer hacker) who could retrieve and recombine creations from the past--data alone becomes necessary. This synthetic approach has been taken up, in a politically radical way, by the visual, musical,and literary arts where collage is used to startle viewers into reflection upon the meaning of reproduction. Here, pop-art reflects culture (American). Let me give you the example of Californian culture where the person--though ethnically European, African, Asian, or Hispanic--searches for authentic or "rooted" religious experience by dabbling in a variety of religious traditions. The foundation of authenticity has been overturned as the relativism of collage has set in. We see a pattern in the arts and everyday spiritual life away from universal standards into an atmosphere of multidimentionality and complexity, and most importantly--the dissolving of distinctions. 

Surrealism

• What is Surrealism?
• How is it provoked through media, fashion and beauty?
• What year was surrealism first introduced?

1. a 20th-century avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.

Movement, which began in the 1920s, of writers and artists who experimented with ways of unleashing the subconscious imagination, includes the artists Salvador Dalí and René Magritte


There was no single style of surrealist art but two broad types can be seen. These are the oneiric (dream-like) work of Salvador Dalí, early Max Ernst, and René Magritte, and the automatism of later Max Ernst and Joan Miró. Freud believed that dreams revealed the workings of the unconscious, and his famous book The Interpretation of Dreams was central to surrealism. Automatism was the surrealist term for Freud’s technique of free association, which he also used to reveal the unconscious mind of his patients.

Surrealism had a huge influence on art, literature and the cinema as well as on social attitudes and behaviour.