1. Examine the anti-bourgeoisie works of the Dadaists and the images of physical and psychological well-being by Monet, Bonnard and Matisse. How do you explain such different artistic impulses existing concurrently? How might these works be considered divergent responses to the First World War?
2. Andre Breton cited Sigmund Freud as one of the great precursors to Surrealism. Analyze the examples of Surrealist art included in this chapter. Do you detect the influence of Freud’s theories about the role of the subconscious and the sexual urge in these works? Choose three works by different Surrealist artists and describe how you think they do or do not incorporate Freudian thought.
3. How does film take on authority? How does film create an illusion about real events? Consider the montage theory of filmmaking and discuss issues that result from cinematic re-creations. Apply these questions to the film Battleship Potemkin. How might these questions apply to documentary filmmaking today? In films by Ken Burns? Michael Moore? Morgan Spurlock? Why is it important to view even documentary films with a critical eye?
