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In the light of the thoughts and practices of two important film people about the concepts of eye and close-up, when we look at the Andalusian Dog (Un chien andalou), which Luis Buñuel and Salvador Dalí brought to life together, we see that these two concepts are very important in the production, which is one of the groundbreaking films in the history of cinema. We see that it takes up space. At the very beginning of this 16-minute short film, it is one of the most memorable and valuable images in the history of cinema when evaluated in terms of its meaning. A man, brought to life by Luis Buñuel himself, cuts off a woman's eye with his long sharpened razor. Just before this action, the man looks at the moon from the balcony he is on. Clouds are approaching the moon, which is the light source of the night, that is, an invariable part of the act of seeing. After the clouds approach the moon, a cut is made on the face of the woman whose eye will soon be cut off. This face, which appears on the screen in close-up, is free of mimics and therefore emotional expressions. It is completely unclear what he felt before the eye amputation procedure. Whether he is smiling because of the absurdity of the action or is he worried about what will happen to him, this is left completely ambiguous. All we see is the man, played by Buñuel, racing the woman's eye with a razor, while the clouds cut the moon.
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As stated at the beginning, the eye is the only sense organ that cinema is directly and always related to. Most films made until Dalí and Buñuel's Andalusian Dog in 1929 relied on the same kind of seeing. In this type of films, the images flow according to the scenarios and plots written in order to create different kinds of emotions in the audience. The situation is different in the Andalusian Dog. The two geniuses under the film agree that it should be a different film at the idea stage. The basic rule of the screenplay of the movie, which was written in less than a week, is as follows: Adopting thoughts and images that will not allow any psychological, cultural or logical explanation. In fact, the film takes its basis from the dreams of Buñuel and Dalí. In fact, as he wrote in his autobiography, the images of clouds cutting the moon and razor cutting the eye were taken directly from a dream Buñuel had and included in the script. What such a film, which rejects the explanations to be made with logic, does with the cut of the eye, is to invite the cinema audience to another viewing experience. This is a call made through images to leave Vertov's understanding of showing what is by simulating the functions of the eye and the camera aside, and to be open to every irrational thought. In fact, this defiant approach underlies the fact that Andalusian Dog is considered one of the most important masterpieces of surrealistic cinema and that it has been adopted by important artists whose productions are evaluated within this movement from the very first moment.
srcThe denial of the tendency to create emotion in the viewer, which is expected from a movie as much as the logical explanations of the movie, is also expressed by the indifference of the woman whose eye is cut with a razor. Béla Balázs' remarks, which are very appropriate in terms of classical narrative cinema, are ignored at this point. Because neither the Dalí-Buñuel duo nor the surrealism movement has anything to do with direct emotions. The fact that a woman whose eye will soon be cut with a razor does not react to the situation, is a very clear expression of the fact that Andalusian Dog is a film made only to capture images that will surprise and arouse interest. The person whose eye is about to be cut off is an image, not a person with feelings. The transition to another act of seeing is only possible with such shocking images. Because this is the basis of surrealism: to shake the existing order and transform life itself with artistic productions. From this point of view, Andalusian Dog is a work that hits this target with its first scene, paving the way for creating another cinematic perception.
srcsinemalar
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