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This is the first volume to focus on the diverse permutations of international surrealist cinema after the canonical interwar period. The collection features eleven original contributions by prominent scholars such as Tom Gunning, Michael Löwy, Gavin Parkinson and Michael Richardson, alongside other leading and emerging researchers. An introductory chapter offers a historical overview as well as a theoretical framework for specific methodological approaches. The collection demonstrates that renowned figures such as Leonora Carrington, Maya Deren, Alejandro Jodorowsky and Jan Švankmajer took part in shaping a vibrant and distinctive surrealist film culture following the Second World War. Addressing highly influential films and directors related to international surrealism during the second half of the twentieth century, it expands the purview of both surrealism and film studies by situating surrealism as a major force in postwar cinema.

Surrealism in motion pictures --- Chaucer. --- Middle English. --- dreams. --- emotions. --- ethics. --- literature. --- medieval. --- romance. --- sleep. --- space. --- Shakespeare, william, 1564-1616 --- Literature, medieval --- Literary criticism --- Alejandro Jodorowsky. --- André Breton. --- Cinema. --- Film. --- Jan Švankmajer. --- Joseph Cornell. --- Luis Buñuel. --- Maya Deren. --- Post-war. --- Surrealism.

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Worin konvergieren künstlerische Gestaltungstechniken, psychoanalytische Deutungspotentiale sowie narrative Bildthemen? Sarah Hadda fragt nach dem medienspezifischen Charakter des Schnitts und seiner Verwendung in den unterschiedlichen Künsten. Das zugrunde gelegte Verständnis des Schnitts als analytisch-epistemische Figur gerät dabei in eine bewusst gesuchte, produktive Differenz zur Breton'schen Programmatik des Surrealismus, indem das künstlerische Kalkül gegen den psychischen Automatismus ins Feld geführt wird. Über das Fortleben des Surrealismus in der Gegenwartskunst sprach Sarah Hadda mit dem Künstlerduo M+M. »Eine bemerkenswerte Publikation.« Hans Helmut Prinzler, www.hhprinzler.de, 07.06.2019 Besprochen in: MEDIENwissenschaft, 4 (2019), Florian Flömer

Surrealismus; Denkfigur; Schnitt; Montage; André Breton; Max Ernst; Man Ray; Luis Buñuel; Salvador Dalí; Filmschnitt; Frottage; Rayographie; Stachel des Skorpions; M+M; Julian Rosefeldt; Kunst; Film; Medien; Kunstgeschichte; Medienästhetik; Psychoanalyse; Kunstwissenschaft; Surrealism; Figure of Thought; Cut Technique; Art; Media; Art History; Media Aesthetics; Psychoanalysis; Fine Arts; --- André Breton. --- Art History. --- Art. --- Cut Technique. --- Figure of Thought. --- Film. --- Fine Arts. --- Luis Buñuel. --- Man Ray. --- Max Ernst. --- Media Aesthetics. --- Media. --- Montage. --- Psychoanalysis. --- Salvador Dalí.

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Spanish filmmaker Carlos Saura, who began his career under the censorship of Franco's regime, has forged an international reputation for his unique cinematic treatment of emotional and spiritual responses to repressive political conditions. In films such as Carmen and El Dorado, where reality and fantasy are deliberately fused together, Saura reveals the illusions of Franco's mythologized Spain--a chaste, Catholic, and heroic Spain of the Golden Age--that tend to isolate Spaniards from the rest of Europe, from each other, and from their own individuality. In this first English-language book on Saura, Marvin D'Lugo looks at the social and artistic forces behind this film auteur's highly personal cinema. Tracing Saura's career over three decades, D'Lugo discusses each work from Hooligans (1959), a realist film about a Madrid street-gang member trying to become a bullfighter, to The Dark Night (1989), a film dealing with the persecution of the religious reformer St. John of the Cross in the late sixteenth century. Throughout he argues that Saura's cinematic style results from a highly original response to the political and historical constraints of Spanish culture. D'Lugo shows how in order to explore the complex cultural politics of "Spanishness" as it was institutionalized under Franco, Saura frames his narrations through the eyes of characters who question the forces that shape personal and collective identity. Moving beyond the limits of traditional auteur studies, this book addresses the relationship between the filmmaker and the cultural ideology that historically has thwarted and manipulated the expressions of individuality in Spanish society.

National characteristics, Spanish, in motion pictures. --- Saura, Carlos, --- Saura, Carlos, --- Criticism and interpretation. --- Anayloslobos. --- Andalusia. --- Bardies, Roland. --- Bosch, Hieronymus. --- Braucourt, Guy. --- Browne, Nick. --- Camus, Mario. --- Carmen. --- Castile. --- Counterreformation. --- Cría cuervos. --- Dulceshoras. --- ETA. --- Empire, Spanish. --- Erice, Victor. --- Foucault, Michel. --- Generation of 1898. --- Gubern, Román. --- Gutierrez Aragon, Manuel. --- Jardín de las delicias. --- Kinder, Marsha. --- Kovacs, Katherine. --- Manrique, Jorge. --- March, Juan. --- Mayo, Alfredo. --- New Wave, French. --- Objetivo. --- Portabello, Pedro. --- Querejeta, Elias. --- Riva, Natalio. --- Rivas, María Antonieta. --- Saura, Antonio. --- Spanishness. --- Sueiro, Daniel. --- Viridiana (Luis Buñuel). --- allegory. --- auteurism. --- author-function. --- authorship. --- censorship. --- children as spectators. --- discourse. --- identity: female. --- ideology of artistic form. --- neorealism. --- nostalgia. --- practice of seeing. --- reflexivity, historical. --- soundtrack. --- subjectivity, female. --- voyeurism.