{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/87383"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/87383","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"\"Poetic Surrealism in the Films of Bernardo Bertolucci: \"\"The Spider's Strategem\"\", \"\"The Conformist\"\" and \"\"Last Tango in Paris\"\"\"","abstract":"The final film chapters examine surrealism in The Spider's Stratagem, The Conformist and Last Tango in Paris as it developed out of a series of formal models that derive from surrealist painting, photography and film. Subliminally registered images that show the union of irreconcilable elements as they are reconstituted in a dream or fantasy, contradict the storyline and develop the irrational side of his characters. Bertolucci has labeled the irrational substrata of images that make up his movies as scene madri (mother scenes) with reference to the ideal unity between mother and infant and the film viewer's regressive response to movie watching. In his search for equivalents, Bertolucci has used surrealism as a means of entering this experience and transporting it to the screen.","abstract_html":"The final film chapters examine surrealism in The Spider's Stratagem, The Conformist and Last Tango in Paris as it developed out of a series of formal models that derive from surrealist painting, photography and film. Subliminally registered images that show the union of irreconcilable elements as they are reconstituted in a dream or fantasy, contradict the storyline and develop the irrational side of his characters. Bertolucci has labeled the irrational substrata of images that make up his movies as scene madri (mother scenes) with reference to the ideal unity between mother and infant and the film viewer's regressive response to movie watching. 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