2.3. The associative logic of the dreams and the subversion of reality.

The cinema of attractions and the emotional shock.

Vertov didnt like the movies of that time because he refused the IMR, because he thought it
wasn’t cinematic, and the wanted to create cinematic. He made The Man With a Movie
Camera (1929). This film doesn’t have inter-titles (las frases entre escenas del cine mudo),
script, etc. Its aim is to créate an absolute and universal cinematrographic language. He
portrayed a very personal point of view of reality.

There are two main ways of introducing dreams in films:

 Introducing the dreams in the narrative

 Portraying the dream as the movie itself

SURREALISM
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THE DREAM WORK (FREUD)

 Manifest vs latent content

 Making hidden desires
MECHANISMS

1. Condensation
2. Displacement
3. Representability: occurs when thoughts are translated into visual images. Not all
thoughts in the dream are represented by images, but many elements are manifested
in the dream as thoughts or knowledge.
4. Symbolism in the dream: Freud takes symbols as a resource for the interpretation of
dreams, because in his experience in analysis he corroborated the existence of. Cultural
codification
5. Secondary elaboration: Recomposition of the dream aimed at presenting it in the form
of a relatively coherent and comprehensive script. Translate the dream content into a
narration (when you try to remember your dream, you try to narrate it or script it)

We spend 1/3 of our lives dreaming. Dreams are real.

Alfred Hitchcock -> Spellbound -> example of how dreams are going to help to solve the
narration itself.

Meshes of the afternoon (1943), Maya Deren.

THE SUBLIME

 Aesthetic experience that produces a sense of grandeur, awe or even terror in the
spectator.
 It is a sensation that goes beyond the mere beautiful and is capable of inspiring a
feeling of admiration and respect for something that is powerful, majestic or
incompressible.
 Kant: “”.
 Beauty is form the finite, the limited. The sublime refers to infinity.
 Man “dwarfed” by nature.
 In the field of art, it refers to the capacity of a work of art to produce an aesthetic
experience that is immense

THE UNCANNY

 “Unheimlich”:
 “Uncanny”
 This sense of the sinister
 Freud argues
 In literature,
 The concept of uncanny has been widely used in film and literature when seeking to
create a sense of unease in the viewer or reader by presenting the familiar in a
disturbing way,