![]() ![]() Surrealism, Cinema, and the Search for a New Myth will appeal to film scholars, art historians, and those interested in the impact of occultism on modern culture, film, and the arts. It broadens the scope of the study of not only surrealist cinema, but of surrealism across the art forms. The book traces a continuous engagement with myth and magic throughout these films, uncovering a previously unknown strain of occult imagery in surrealist cinema. Kristoffer Noheden looks to the Danish surrealist artist Wilhelm Freddie’s forays into the experimental short film, the French poet Benjamin Péret’s contribution to the documentary film L’Invention du monde, the Argentinean-born filmmaker Nelly Kaplan’s feature films, and the Czech animator Jan Svankmajer’s work in short and feature films. Intermedial and interdisciplinary, the book unites cinema studies with art history and the study of Western esotericism, closely engaging with a wide range of primary sources, including surrealist journals, art, exhibitions, and writings. This book examines post-war surrealist cinema in relation to surrealism’s change in direction towards myth and magic following World War II. Surrealism, Cinema, and the Search for a New Myth The reader will find in this volume images that present challenges to our understanding of how photographic work has been used within surrealism, pinpointing individual pictures whose dynamic charge may induce instants of compelling interrogation and disruption. The main chapters, ordered chronologically, are intersected with shorter texts examining specific works. Based on extensive research at museums in Prague and Brno and many conversations with participants in and historians of the movement, Krzysztof Fijalkowski, Michael Richardson and Ian Walker analyse how this photographic work has developed cohesively and rigorously, from the beginnings of Czech Surrealism in 1934, to the intriguing researches of the present-day Czech and Slovak Surrealist group by way of mysterious veiled responses to the repressive contexts with which they were faced from the 1950s to the 1980s. The volume explores a rich and important artistic output, very little of which has been seen outside of its land of origin. Surrealism and Photography in Czechoslovakia: On the Needles of Days sheds much-needed light on the location of the greatest concentration of Surrealist photography and examines the culture and tradition within which it has taken root and flourished.
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