A close examination of Rene Clair’s films Paris qui Dort and Entr’acte reveals a connection between
Clair’s cinematic technique of “instantanéisme” and Breton’s notion of “suspended time”.
The Surrealist Voice emerges from the liminal state between sleeping and waking as “spoken
thought”, the voice of being revealing itself to the poet. It is poesis speaking itself.
References
[1]
Breton, A. (1972). Manifestoes of Surrealism. R. Seaver, & H. R. Lane (Trans.). Ann Arbor: University of Michigan Press.
[2]
Breton, A. (1982). Poems. J.-P. Cauvin, & M. A. Caws (Trans.). Austin: University of Texas Press.
[3]
Breton, A. (1987). Mad Love. M. A. Caws (Trans.). Lincoln: University of Nebraska Press.
[4]
Clair, R. (1922). Paris qui Dort.
[5]
Clair, R. (1924). Entr’acte.
[6]
Humphries, C., & Urgunge, O. (1996). Shamans and Elders: Experience, Knowledge and Power among the Daur Mongols. Oxford: Clarendon Press.
[7]
Rabinovitch, C. (2002). Surrealism and the Sacred. Ann Arbor: University of Michigan Press.
