Abstract
This study addresses the construction of Salvador Dali's paranoiac-critical method through an analysis that highlights the experimentation that led this artist look for new expressions for the implementation of such method in different practices beyond painting, especially cinema. Part of this experimentation remarks the effort of simulating paranoiac-critical images through photography, holography and film-making; although these images could not be fully realized. Our main interest is to show that limitations faced by Dali have disappeared with the rise of digital images. Therefore, we theorize that current context enables the creation a critical paranoia in movement. For this purpose, we will examine the Euclidean nature of pictorial representation and its extension to the camera obscura, the appearance of new spaces in cinema, the characteristics of the digital medium, its transition through video technology, the implications of motion pictures, and the conceptual construction of paranoia in movement.
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