344:" plays during a sequence in the slaughterhouse, comparing the lyrics to aspects of the slaughter, forcing the audience to interpret the love song in new and horrific ways. A similar contradiction can be seen in the film during scenes in which voiceover narration is used. The use of voiceover in the film works to undermine the form of a more typical documentary film. By alternating male and female narrators, the clinical, typically masculine authority of the documentary film is undermined. During the scene in which the instruments of slaughter are examined, the contradiction between the clinical account of the use of the instruments and the visceral horror of the instruments themselves points out the horrors that are ignored by modern society.
327:, and the influence of this movement is extremely evident in his works. Franju uses these elements to link horror, history, and an ironic commentary on modernity's ideal of progress. Franju is quoted as having said "It's the bad combination, it's the wrong synthesis, constantly being made by the eye as it looks around, that stops us from seeing everything as strange." Throughout his documentary
331:, for example, Franju reminds the audience just how strange everyday life can be. The opening sequence of the film presents the modern age as a "dream land" in which there is a need for some sort of awakening; Franju's awakening comes through historical knowledge. Surrealist depictions of strange mannequins on the city's edge are reminiscent of the bodies of the men wounded in war.
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body created by another of Dr. Genessier's many failed attempts to complete this surgery), the progress of technology (represented by the airplane), and the comfort of religion (represented by the church bells). This surrealist combination forces a new view of modernity and thus a reevaluation of the past.
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argued that surrealism must "disturb capitalist culture's mythic assumptions of a rationalized evolving history" which is done by provoking a simultaneous interpretation of the past and the present. This, as
Benjamin argues, relies on the recognition of horror within everyday life. Franju does this
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also uses surrealist elements to address aspects of post-war life. During one scene, loud, disrupting noises of an airplane and church bells are heard while Dr. Genessier and Louise bury a failed facial graft candidate. This scene serves to portray the loss of faith in medicine (represented by the
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in 1936. Franju ceased to be closely related with the Cinématheque Française as early as 1938, and only became associated with it strongly again in the 1980s when he was appointed as the honorary artistic director of the Cinématheque. In 1937, Franju and
Langlois co-founded another less successful
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proved so horrific that audience members in
Edinburgh fainted during screenings. During the most graphic grafting scene in the film a large importance is placed on surgical lamps, the scalpel being used, gloves, masks, and operating tables. Once again, the contradiction between the methodical,
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225:). The film was commissioned as a celebration of the modernization of the French industry, but Franju's film showed his view of the ugliness spewing forth from monstrous factories. Franju's third film commissioned by the French government,
229:(1951), was a look at life inside a veterans' hospital. The film was commissioned as a tribute to the hospital and the War Museum, but Franju turned it into a film against the glorification of militarism. Franju later said that
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Franju used elements of surrealism and shock horror within his films in order to "awaken" his audience. Franju had a long history of friendship with well-known surrealists including
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co-founded another organization to promote cinema called
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Lowenstein, Adam. "Films
Without a Face: Shock Horror in the Cinema of Georges Franju." Cinema Journal 37.4 (1998): 37–58. Print.
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occupation of Paris and the industrialism following World War II influenced Franju's early works. His first documentary,
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scientific approach to this horrific situation and the situation itself serves to accentuate the horror.
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from their own collections followed by an informal debate about them amongst members. From
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met through Franju's twin brother
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which had only two issues. In early 1940, Franju and
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he borrowed from
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239:Head Against the Wall
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655:Eyes Without a Face
451:Hôtel des Invalides
422:Blood of the Beasts
252:Eyes Without a Face
231:Hôtel des Invalides
227:Hôtel des Invalides
203:The Blood of Beasts
170:Le Cercle du Cinema
158:Le Cercle du Cinema
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819:(1917) by
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255:(French:
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154:Le Métro
110:Fougères
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1192:(1974)
1184:(1970)
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1144:(1958)
1125:(1952)
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1109:(1949)
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386:Notes
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318:auteur
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207:French
197:. The
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