Table of Contents

Introduction: Surrealist film theory and practice 1. Surrealism and Popular Culture 2. Luis Buuel and the Snares of Desire 3. Jacques Prvert and the Poetry of the Eventual 4. Surrealism and Hollywood 5. Surrealism and the Documentary 6. Nelly Kaplan and Sexual Revenge 7. Walerian Borowczyk and the Touch of Desire 8. Jan vankmajer and the Life of Objects 9. Panique: A Ceremony Beyond the Absurd 10. The Baroque Heresy of Ral Ruiz 11. Surrealism and Contemporary Cinema

Promotional Information

Also available in paperback, 9781845202262 GBP16.99 (March, 2006)

About the Author

Michael Richardson has published widely on surrealism, having edited two volumes of surrealist stories, The Identity of Things and The Myth of the World, a collection of Georges Bataille's writings on surrealism, The Absence of Myth, and a collection of writings by Caribbean surrealist writers, Refusal of the Shadow. He is currently visiting professor at Waseda University, Tokyo.

Reviews

'I so enjoyed reading this book! Its arguments about surrealism and film are lucid and persuasive and presented with compelling clarity. I couldn't put it down.' Mary Ann Caws, author of Surrealism: themes and movements and Surrealist Painters and Poets: an anthology 'There is nothing that would compel one to not recommend this intelligent and fiercely radical study of Surrealism and cinema, which ranges further in its scope, is more up-to-date, and is more thorough in its investigation than any other.' Manticore: Surrealist Communication 'Richardson begins where most other commentators leave off.' Leonardo 'This expansive study contributes to maintaining a notion of what surrealism within cinema might be without restricting it to a set of rules or conditions.' Screening the Past 'At once a critical introduction and provocative re-evaluation, Surrealism and Cinema is essential reading for anyone interested in surrealist ideas and the history of film.' Guistificativo, Bolletino del cirt, centro internazionale promozione editoriale 'There is nothing that would compel one not to recommend this intelligent and fiercely radical study of Surrealism and cinema, which ranges further in its scope, is more up-to-date, and is more thorough in its investigation than any other.' Gareth Brown, Surrealism Communication