• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.135-142
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• 2019

This study explores the ways in which depaysement and its dreams function as a hallucinative allegory on the basis of the spiritual freedom of surrealism in Luis Bunuel's films: "The Discreet Charm of the Bourgeoisie" and "The Phantom of Liberty". In order to grasp the appearances of the sign in the scene of these films, it examines how he uses surrealism's dépaysement techniques such as the disposition of floating object, bipolarity, and physical contradictions of images. These emerging aesthetic views are as follows: the antipathy to reason, the critique of law and order, the aversion to ideology, and state apparatus. These finally aim at criticizing fundamental irrationality, thus paving a path for opening the possibility of liberation. He laid the foundation for a surrealist film by appropriatizing surrealist techniques to spread his claims. Therefore, this study argues that filmic scenes of dreams and hallucinations for a hallucinative allegory are closely related with the technique of depaysement network which summons the significance of surrealistic freedom in these films.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.