Do both these surrealist films reject conventional narrative structure through the focal point of a subjective reality?
One could say that both Bunuel’s ‘L’Age D’or’ and ‘Un Chien Andalou’ reject conventional narrative structure through the focal point of a subjective reality. Both films harness a psychoanalytical, surrealist approach that prevents ‘the viewer’s ability to logically interpret proceedings’. However, both films allow for re-occurring motifs that could develop a sense of stability within the film, in turn causing the viewer to find a different perspective that would instigate a narrative flow.
First of all, with the film ‘Un Chien Andalou ’, one could say that it initially doesn’t reject a conventional narrative structure, opening with themes of familiarity. For example, by introducing the film with “Once upon a time”, it immediately correlates with many other literature introductions, paying homage to fairy tales and children stories to which the audience could relate. This is supported by the non-diegetic score, the up-beat, joyous tone elevating the opening state of equilibrium that a conventional narrative would possess. One could argue, that the ambiguous phrase foreshadows the dream-like state that the film later embodies, beginning to build a subjective reality that could dislodge the initial narrative structure. Consequently, the sequence begins to become illogical when we see a man with a razor alongside a woman. One interpretation could suggest that this moment is used as a catalyst for tension, foreshadowing the upcoming disequilibrium; a turning point that could suggest it’s conventional. Nonetheless, it could be claimed that Bunuel isn’t focusing on narrative but instead the aesthetic impact on the audience. When the woman has her eye split open, it doesn’t aid the continuity of the scene but distills a sense of disgust and fear, hinting at a phallic image to suggest the woman has been violated. Bunuel continues to reject a conventional narrative structure as the sequence progresses.
By then saying “Eight years later”, the proceedings become spurious as the intertitle almost seems irrelevant. One could say that this emphasises the theme of dream against reality, a dislocation of space and time that suggests the audience are absolved in the latter. This could be developed to say that the mis-en-scene acts as a support for the paradox that the narrative has become. A woman looks ‘uncanny’ (Freud) to another in a book, while the audience witness a triple dissolve between three incongruous images (ants, armpit and a sea urchin). Another interpretation could be that this acts as Freud’s ‘Free Association’, suggesting the audience are making the journey into the unconscious, free from censorship and conventional narrative continuity. Bunuel then proceeds to tease a conventional ending when the man and woman walk across the beach. This hints at the possibility that equilibrium has been restored and the story is coming to an end. This is reinforced by the motif of the box and garments, creating an atmosphere of stability and comfort as the audience aren’t presented with anything new. However, Bunuel only hints at this outcome instead rejecting the possibility of a conventional ending. By showing both the woman and the man dead in the sand it suggests they’re stuck, lifeless forever trapped in a dream. Bunuel uses the ending to offer deep insight into human nature and social systems, harnessing wildlife imagery to solidify the contrast between the man and woman and the fleeting possibility of a resolved ending.
Like ‘Un Chien Andalou’, Bunuel’s ‘L’Age D’or’ also opens paralleling a conventional narrative structure, yet in the style of a documentary. One could infer that the factual approach that Bunuel takes allows for a sense of comfort and stability, focusing on an animal that isn’t estranged to the audience. This is sustained by the aesthetic impact of the scene. By talking of the scorpion’s “instruments of aggression and information” it foreshadows the disequilibrium that arises later, an argument being that this is a common trait for narratives as it suggests homage to Todorov’s narrative theory. Be that as it may, like ‘Un Chien Andalou’, Bunuel proceeds to distort the impression of time, saying “some hours later” and showing clergy men dwelling on rocks. Not only showing a disregard for narrative continuity, this highlights the underlying themes of religion and the ‘dogma’ of the church. Supported by how they have their backs to the ocean and therefore to openness and possibilities. Bunuel proceeds to use the scene as a contrast between the bourgeoise and the working class, juxtaposing the high-class Majorcans with the working men. By showing the bourgeoise distracted by the couple, it correlates with the religious imagery, suggesting that the capitalistic sin of their actions separates them from the higher class.
Similarly, to ‘Un Chien Andalou’, ‘L’Age D’or’ begins to develop its paradoxical, illogical narrative structure as the couple re-unite in a lavish setting, almost as if the film becomes a psychic automatism. Although continuously referring to a bourgeoisie motif, grounds the audience in a narrative familiarity, it becomes overlooked due to Bunuel’s psychoanalytical intentions. By showing the woman caress a statue when the man leaves, it comments on her ‘central ego’ (Freud), suggesting that she has turned to the comfort of the statue due to her deprivation of her ideal object (the man). One could argue that this action acts as more of a ‘wishful fulfilment’ (Freud), where her replacement of the man acts as an idealised improvement and the perfect version of man. Bunuel continues to reject a conventional narrative structure during the end. Much like ‘Un Chien Andalou’, the audience aren’t offered a restored equilibrium but a criticism of the church, indirectly showing religious figures partaking in infringing actions. Not only does this act as a motif to the clergy on the rocks, but an underlying theme of hypocrisy and deceit, using a non-diegetic score to heighten the horror and delinquent atmosphere. Overall, Bunuel climaxes ‘L’Age D’or’ to demonstrate a contextual criticism of religion and the bourgeoisie rather than maintain a logical narrative flow, resolution and conventional ending.
In conclusion, both ‘Un Chien Andalou’ and ‘L’Age D’or’ reject the conventional narrative flow within their surrealist approach, keeping fluid boundaries between time and space, to the point where the protagonists become ontological marvels. Nevertheless, an argument could be that ‘L’Age D’or’ blends into a familiar narrative, harnessing a dockumentary-esque aesthetic to foreshadow a state of equilibrium that potentially could be restored. Coincidently, ‘Un Chien Andalou’ could also be interpreted to hint at narrative conventions, introducing the film with “Once upon a time” and then displaying a peaceful, joyous couple on the beach. Yet, overall, I think that both films continuously reject a conventional narrative structure due to the illogical scene changes, intertitles and mis-en-scene that exaggerate the paradoxical state of the films. Bunuel repeatedly adopts Freud’s psychoanalytic approach so that ‘no idea or image that might lend itself to a rational explanation of any kind would be accepted’ therefore leaving the audience in a state of disorientation that a conventional narrative wouldn’t possess.