The following practice-led thesis compares the student short film The Egg (Bogush, 2024) with the artistic filmmaking style of Surrealism. It uses cinematography and the cinematographer’s role to compare stylistic and ideological traits of the two main focuses. The contemporary short is a work of dramatic fantasy containing abstract sequences, and Surrealism is a strongly provocative and political mode in art history.
In discussing aesthetic traits, filmic techniques, and thematic substance, this thesis should provide insight into artistic transgression; how it can be identified and interpreted through many academic lenses. By juxtaposing scholarly texts and testimony of the relevant artists with other intellectual stimuli (such as psychological theory or the cinema of Hollywood’s golden age), the writing encourages theoretical, practical teachings to be considered via Surrealism’s subversive sensibilities.
The work begins by establishing the basic concepts in discussion – their definitions and properties – then proceeds to analyse specific cinematic sequences – their technical and narrative construction. It concludes by clarifying the complex yet explicit relationship between these forms and what the comparison ultimately illuminates.
PLEASE NOTE: You must be a member of the University of Lincoln to be able to view this dissertation. Please log in here.