School of Culture and Communication - Research Publications

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Start date: 2000 × End date: 2009 × Author: Creed, Barbara ×

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    Baby bitches from hell: monstrous little women in film
    CREED, BARBARA (Auckland Art Gallery Toi o Tāmaki, 2005)
    The Surrealists were fascinated by what they perceived as the dual nature of the little girl, her propensity for innocence and evil. This theme has also proven an enduring one in the history of the cinema and provided the basis for many acclaimed films from The Innocents to Lolita. The view of the female child as particularly close to the non-material world of fantasy and the imagination was central to the beliefs of the Surrealists. They regarded childhood as "the privileged age in which imaginative faculties were still à l’état sauvage – sensitive to all kinds of impressions and associations which education would systematically 'correct'". "Dissecting mystery is like violating a child", Bunuel was fond of saying.' In the 1924 Manifesto, Breton claimed, "The spirit which takes the plunge into Surrealism exultantly relives the best of its childhood."
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    Susan Norrie
    CREED, BARBARA ( 2004)
    The work of Susan Norrie, which now spans more than two decades, is challenging, provocative and inspirational. As with all visionary artists, Norrie’s practice has developed and changed over time, now incorporating painting, objects, still and moving images and sound. from her paintings to her installations and video projections, Norrie’s work combines technical brilliance and extraordinary talent with an acute and restless intelligence.
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    Jedda
    CREED, B ; Mayer, G ; Beattie, K (Wallflower Press, 2007)
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    The untamed eye and the dark side of surrealism: Hitchcock, Lynch and Cronenberg
    CREED, B ; Harper, G ; Stone, R (Wallflower Press, 2007)
    A sliced eyeball, scorpions fighting to the death, ants crawling from a hole in a hand, delirious lovers – these images, designed to delight and shock, capture the essence of the Parisian Surrealist movement of the 1920s and 1930s. The continuing influence of early or classic Surrealist filmmaking on popular, commercial filmmakers of the latter part of the twentieth century is evidenced by a different but equally disturbing set of Surrealist signature images: a severed ear lying on a country lane, a woman falling twice to her death from a bell tower, an exploding head and a man disappearing intothe parted lips of a television screen. There is no doubt that early Surrealists were in love with the image and its power to move the viewer. The Surrealists, however, did not extol the power of the image per se; rather they were drawn to the art of montage, that is, the way images could be edited together to create shocking and fantastic associations in order to affect the viewer emotionally. Contemporary filmmakers such as American director David Lynch and Canadian David Cronenberg are similarly fascinated by the power of Surrealism and shock montage to open up the imagination. The British director Alfred Hitchcock, who made a series of Surrealist masterpieces inHollywood in the 1950s and 1960s, was the first popular director to work in the Surrealist mode. The horror film, of course, has for decades drawn, tongue-in-cheek, on the dark jittery side of Surrealism.
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    What Do Animals Dream Of? Or King Kong As Darwinian Screen Animal
    CREED, B. (Brill Academic Publishers, 2007)