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Fineberg, Jonathan Bott, Candace Celia 2015-09-28T15:53:07Z 2015-09-28T15:53:07Z 10000-01-01 1997 1997 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. Made available in DSpace on 2015-09-28T15:53:07Z (GMT). No. of bitstreams: 2 license.txt: 4848 bytes, checksum: 96035ab3f5e1c23cc7138a224ce498bd (MD5) 9812537.pdf: 19929325 bytes, checksum: b41717acce9552311097f2f9d31f52f9 (MD5) Previous issue date: 1997 Embargo set by: Seth Robbins for item 88664 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs U of I Only 346 p. Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 1997. http://hdl.handle.net/2142/87383 (MiAaPQ)AAI9812537 eng Cinema "Poetic Surrealism in the Films of Bernardo Bertolucci: ""The Spider's Strategem"", ""The Conformist"" and ""Last Tango in Paris""" text Art History Art History University of Illinois at Urbana-Champaign Dissertation Ph.D.