Salvador Dali is one of the most widely recognised and most controversial artists of the twentieth century. He was also an avant-garde filmmaker -- collaborating with such giants as Luis Bunuel, Walt Disney and Alfred Hitchcock -- though the impetus and endurance of his fascination with film has rarely been given the attention it merits. King surveys the full range of Dali's eccentric activities with(in) the cinema. Influenced by the Marx Brothers, Buster Keaton and Stanley Kubrick, Dali used the cinema to bring the 'dream subjects' of his paintings to life, providing the groundwork for revolutionary forays into television, video, photography and holography. Dali's writings continue to be relevant to discourses surrounding film and surrealism, and his embrace of academic technique partnered with contemporary technology and pop culture is a paradox still relevant today. From a movie-going experience that would incorporate all five senses to the tale of a woman's hapless love affair with a wheelbarrow, Dali's hallucinatory vision never fails to leave its indelible mark.
One of the most widely recognized and controversial artists of the 20th century, Salvador Dalí was also an avant-garde filmmaker, collaborating with such giants as Luis Buñuel, Walt Disney, and Alfred Hitchcock. Influenced by the Marx Brothers, Buster Keaton, and Stanley Kubrick, Dalí used the cinema to bring the "dream subjects" of his paintings to life, providing the groundwork for revolutionary forays into television, video, photography, and holography. From a moviegoing experience that would incorporate all five senses to the tale of a woman’s hapless love affair with a wheelbarrow, Dalí’s hallucinatory vision never fails to leave its indelible mark, while his writings continue to be relevant to discourses surrounding film and surrealism.
Dali was one of the most famous and also one of the most notorious artists of the 20th century, his flamboyant personal style establishing him as a showman in the popular imagination. This book presents both the major works that reflect Dali's preoccupation with film and material related to the key film projects on which he worked."
Surrealist cinema, as epitomised by Un Chien Andalou and L'Age D'Or, was a knife through the very heart of the establishment - a scorpionic, scatological black joke galvanised by the irrational, the uncanny and the spectre of de Sade. Author Robert Short revisits these two seminal films and documents the experimental cinematic theories of Antonin Artaud and the filming of his Surrealist scenario The Seashell and the Clergyman. Short also looks at the work of Hans Richter, Jean Cocteau, Marcel Duchamp and Man Ray.
Surrealism has long been recognised as having made a major contribution to film theory and practice, and many contemporary film-makers acknowledge its influence. Most of the critical literature, however, focuses either on the 1920s or the work of Buuel. The aim of this book is to open up a broader picture of surrealism's contribution to the conceptualisation and making of film.Tracing the work of Luis Buuel, Jacques Prvert, Nelly Kaplan, Walerian Borowcyzk, Jan vankmajer, Raul Ruiz and Alejandro Jodorowsky, Surrealism and Cinema charts the history of surrealist film-making in both Europe and Hollywood from the 1920s to the present day. At once a critical introduction and a provocative re-evaluation, Surrealism and Cinema is essential reading for anyone interested in surrealist ideas and art and the history of film.
The Shadow and Its Shadow is a classic collection of writings by the Surrealists on their mad love of moviegoing. The forty-odd theoretical, polemical, and poetical re-visions of the seventh art in this anthology document Surrealism's scandalous and nonreductive take on film. Writing between 1918 and 1977, the essayists include such names as Andréeacute; Breton, Louis Aragon, Robert Desnos, Salvador Dalíiacute;, Luis Buñntilde;uel, and man Ray, as well as many of the less famous though equally fascinating figures of the movement. Paul Hammond's introduction limns the history of Surrealist cinemania, highlighting how these revolutionary poets, artists, and philosophers sifted the silt of commercial-often Hollywood-cinema for the odd fleck of gold, the windfall movie that, somehow slipping past the censor, questioned the dominant order. Such prospecting pivoted around the notion of lyrical behavior-as depicted on the screen and as lived in the movie house. The representation of such behavior led the Surrealists to valorize the manifest content of such denigrated genres as silent and sound comedy, romantic melodrama, film noir, horror movies. As to lived experience, moviegoing Surrealists looked to the spectacle's latent meaning, reading films as the unwitting providers of redemptive sequences that could be mentally clipped out of their narrative context and inserted into daily life-there, to provoke new adventures. "Hammond's book is a reminder of the wealth and range of surrealist writings on the cinema. . . . [T]he work represented here is still challenging and genuinely eccentric, locating itself in an 'ethic' of love, reverie and revolt." --Sight & Sound "Hammond, who is the author of the invaluable anthology The Shadow and its Shadow: Surrealist Writing on the Cinema (1978), writes about cinema independently of the changing academic and cultural fashions of film theory and abhors the dogmas of contemporary border-patrol thought. His magnetically appealing free-wheeling form of erudite film-critical writing is recognisable for its iconoclastic humour, non-authoritarian verve and playful witty discursivity." --John Conomos, Senses of Cinema Paul Hammond is a writer, editor, and translator living in Barcelona. He is the author of Constellations of Miróoacute;, Breton which was published by City Lights.
"An important contribution to film theory. . . . Williams has a fluid, assured style. She is clearly in command of the subject. She's made a strong and original argument for the psychoanalytic basis of Surrealism."--James Monaco, author of The New Wave
Critics from the UK, US, Australia, Canada and Japan discuss views on canonical surrealist works , and the role of surrealism in modern cinema, animation, digital cinema and documentary.
This lushly illustrated graphic novel re-creates a lost Marx Brothers script written by modern art icon Salvador Dali. Grab some popcorn and take a seat...The curtain is about to rise on a film like no other! But first, the real-life backstory: Giraffes on Horseback Salad was a Marx Brothers film written by modern art icon Salvador Dali, who’d befriended Harpo. Rejected by MGM, the script was thought lost forever. Author and lost-film buff Josh Frank unearthed the original script, and Dali’s notes and sketches for the project, tucked away in museum archives. With comedian Tim Heidecker and Spanish comics creator Manuela Pertega, he’s re-created the film as a graphic novel in all its gorgeous full-color, cinematic, surreal glory. In the story, a businessman named Jimmy (played by Harpo) is drawn to the mysterious Surrealist Woman, whose very presence changes humdrum reality into Dali-esque fantasy. With the help of Groucho and Chico, Jimmy seeks to join her fantastical world—but forces of normalcy threaten to end their romance. Includes new Marx Brothers songs and antics, plus the real-world story behind the historic collaboration.
Adam Lowenstein argues that Surrealism's encounter with film can help redefine the meaning of cinematic spectatorship in an era of popular digital entertainment. Video games, YouTube channels, Blu-ray discs, and other forms of ÒnewÓ media have made theatrical cinema seem Òold.Ó A sense of Òcinema lostÓ has accompanied the ascent of digital media, and many worry filmÕs special capacity to record the real is either disappearing or being fundamentally changed by new mediaÕs different technologies. The Surrealist movement offers an ideal platform for resolving these tensions, undermining the claims of cinemaÕs crisis of realism and offering an alternative interpretation of filmÕs aesthetics and function. The Surrealists never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Reading the writing, films, and art of Luis Bu–uel, Salvador Dal’, Man Ray, AndrŽ Breton, AndrŽ Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell, and tracing their influence in the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese Ring (1998); and a YouTube channel devoted to Rock Hudson, this innovative approach puts past and present cinema into conversation to recast the meaning of cinematic spectatorship in the twenty-first century.
