Jean Epstein had a theory. The star of his theory was the machine -- an anti-hero, a character the audience loved to hate. Epstein recognized the machine as an extension of humans, who manipulate objects, but magnificently immortal. A filmmaker, Epstein cast the camera, his own personal extension, in
It was at an Abel Gance retrospective in 1967 that Henri Langlois broke the news. Film historians had always considered Gance's "La Folie du Docteur Tube" (1915) a harbinger of Surrealism. But, Langlois explained, its extraordinary mess of distortion and hallucination was an accident. The opening
David Lynch has been charged with making incomprehensible films. In fact, they make perfect sense, but not necessarily to us. An exemplary scene in "Fire Walk with Me" (1992) shows this: Two investigators are to receive their assignment from a very odd-looking woman named Lil. What they receive from
A razor blade slicing across a woman's eye -- this spine-chilling image is indelibly burned into the brain of anyone who has ever seen "Un Chien Andalou" (1929) by Luis Bunuel and Salvador Dali. This short film -- which also features a man poking at a severed hand and ants emerging from a hole in a m