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The Quay BrothersInto a Metaphysical Playroom$
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Suzanne Buchan

Print publication date: 2011

Print ISBN-13: 9780816646586

Published to Minnesota Scholarship Online: August 2015

DOI: 10.5749/minnesota/9780816646586.001.0001

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Traversing the Esophagus

Traversing the Esophagus

Chapter:
(p.74) (p.75) 3. Traversing the Esophagus
Source:
The Quay Brothers
Author(s):

Suzanne Buchan

Publisher:
University of Minnesota Press
DOI:10.5749/minnesota/9780816646586.003.0003

This chapter discusses the research and studio processes from where the Quay Brothers’ films were conceived. Quay Brothers used a kind of research that lets them reinvent visual compositions derived from cinematic origins in order to create an authentic cinematic style. Some cinematic origins include the physical and tangible objects, such as objets trouves or old objects, faded fabrics, and Marcel Duchamp’s artworks which reflect history. The reflected history of these objects is used to structure each and every part of the films of the Quay Brothers; for instance, in their creation of the film Street of Crocodiles. Critics described the film as a realm composed of objects, puppets, and miniatures that move within an uncertain collaged space. The Quay Brothers used Bruno Schulz’s writings to present time as another factor, affecting the manipulation of their films’ collaged spaces.

Keywords:   visual compositions, cinematic origins, cinematic style, Marcel Duchamp, Street of Crocodiles, Bruno Schulz, time

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