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This thesis is in two parts: a theoretical section (60%), which provides an analysis of gender identity in Surrealist film through consideration of a range of Surrealist films; and a practical section (40%), consisting of a body of original creative work (collage, film and assemblage), which builds on and is in dialogue with the theoretical insights of the research. Transformation is seen as central to a mapping and remapping of the spaces, (supposed) limits and frontiers of Surrealist notions of gender identity. In particular this thesis examines how Surrealist film makers engage with representations of men and women: problematising any single or unitary (fixed) reading but rather blurring boundaries between masculine / feminine (as process / flux) in order to deconstruct them, with the ultimate aim of criticising a society that encourages the positioning of men and women according to (binarised) patriarchal discourses. I examine the implications of these 'gender crossings' for the spectator by developing the concept of 'bisexual switching' – which posits a mobile spectator who actively negotiates the various (gender) positions / identities in a kind of dialogue with the text and film maker. Practice, is understood here as a dynamic, integral part of the production of meaning, providing new ways of reflecting upon texts and the processes (such as spectatorship) by which we engage with them. It is argued that this approach is in keeping with the notion of Surrealism as a form of research conducted by artist-researchers, wherein the artworks created are not to be viewed in aesthetic terms but rather as research tools or documents of the research. Following the discussion of the case study films I engage with my own practice in relation to the former, as a series of interlocking dialogues, confirming and challenging the findings of the written thesis (and practice), offering new perspectives on gender identity in Surrealist film.

Thesis (Ph.D.)--Murdoch University. / Thesis submitted to the Division of Arts.

<p>A collection of short stories featuring surreal events and worlds showcasing interpersonal struggles in the backdrop of environmental issues.</p>

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Cette thèse est centrée sur l'image surréaliste, en particulier telle qu'elle apparaît dans les écrits d'André Breton. Si nous sommes conscients de l'impossibilité de réduire la complexité de l'image poétique surréaliste à une formulation simple, l'ambition de ce mémoire est de déterminer s'il est possible d'isoler des traits spécifiques de l'image surréaliste. La célèbre définition de l'image que propose Pierre Reverdy est dans un premier temps considérée comme une description de l'image surréaliste. L'examen de quelques exemples montre toutefois que cette définition ne s'applique pas en particulier à l'image surréaliste. D'autres moyens de recherche des hypothétiques traits distinctifs de l'image surréaliste sont donc considérés. Devant la nature opaque de certaines images surréalistes une approche formelle a été adoptée. Elle s'appuie en grande partie sur la vision de la figure de Michele Prandi qui y voit du langage incohérent relatif à notre ontologie ou aux contraintes qu'impose une construction syntaxique. On a comparé un corpus d'images surréalistes à un corpus d'images non surréalistes véhiculées par une même construction syntaxique. Plusieurs constructions ont été prises en compte. Certains traits liés à quelques structures particulières ont été relevés, d'autres à plusieurs structures. / This thesis deals with the Surrealist image particularly as it is used in André Breton's poetry. Although it is difficult to reduce the Surrealist verbal image to a simple formula, the aim of this study is to ascertain whether it is possible to identify distinctive characteristics of the Surrealist image. To begin with Pierre Reverdy's famous definition of the poetic image is considered as a definition of the Surrealist image. However the examination of a few examples shows that Reverdy's defintion does not apply in particular to Surrealist images. Other means of isolating the hypothetical distinctive features are therefore sought. Given the obscurity of many Surrealist images a formal approach was adopted. The approach was very much influenced by Michele Prandi's vision of metaphor as incoherent language involving the outside world and syntactic structures. Accordingly, Surrealist images were compared to non Surrealist images in the same construction. Some features pertaining to particular structures were noticed, some to several structures.

Many of these poems deal with childhood, love, art, and the search for meaning. Most of the poems have a female voice that is hopeful and acceptant. The format of the thesis goes from adulthood to childhood and works as a return to the familial.

Many of these poems deal with childhood, love, art, and the search for meaning. Most of the poems have a female voice that is hopeful and acceptant. The format of the thesis goes from adulthood to childhood and works as a return to the familial.

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