By E.J. Stephens, Michael Christaldi, Marc Wanamaker
For over a hundred years, Paramount photos has been attractive motion picture and tv audiences around the world with its fascinating imagery and compelling tales. coming up from the collective genius of Adolph Zukor, Jesse L. Lasky, and Cecil B. DeMille through the 1910s, Paramount photographs is domestic to such enduring classics as Wings, sundown street, the 10 Commandments, Love tale, The Godfather, the Indiana Jones sequence, Chinatown, Forrest Gump, Braveheart, giant, and megastar Trek. Early Paramount Studios chronicles Paramounts origins, culminating within the production and enlargement of the lot at 5555 Melrose street, the final significant movie studio nonetheless in Hollywood.
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Extra resources for Early Paramount Studios (Images of America)
The Surrealists' attraction to the image is inseparably linked with the Freudian notion that the image-presentation of dreams is a psychic shortcut to the satisfaction of desire. But it is important to clarify the exact sense in which this desire can be understood if we are to avoid the assumption that wish fulfillment in Surrealist film means the simple possession of a love-object. To do this we must delve a bit deeper into Freud's distinction between primary and secondary processes and between what Jacques Lacan later reformulated as a distinction between the Imaginary and the Symbolic.
The true desire is often latent. Thus the dream is a closed system that can only be decoded by external knowledgeof both the dreamer's life and psychoanalytic methods of interpretation. If, for example, the recollection of an actual dream were filmed, the result would be a totally opaque reproduction of the manifest content of a dream, with no clue to its latent meaning. To the outside spectator such a film would appear even more senseless and chaotic than the actual dream appeared to the dreamer,11 and the wish-fulfillment at its center would remain unrevealed.
We have seen, for example, how Artaud and Desnos' screenplays indicate a very clear understanding of the predominantly narrative nature of film language. Both Artaud and Desnos saw that only through rupture of the established codes of narration could Surrealists hope to achieve film texts that could imitate the structure of unconscious processes as revealed in our dreams. In other words, this early Surrealist understanding of the dream model as it applied to film was to imitate the structure of the dream rather than its content.