Abigail Susik
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The alchemy of surrealist presence in Alejandro Jodorowsky’s The Holy Mountain
in Surrealism and film after 1945
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This essay examines diverse strands of surrealist influence in the cult film The Holy Mountain (1973), by Chilean-French director Alejandro Jodorowsky. Through a discussion of the historical context of Jodorowsky’s artistic production in the post-war period, as well as specific surrealist sources for the film, I argue that La montaña Sagrada is closely aligned with international surrealism in plot, set, and cinematography, but that it simultaneously formulates its own unique countercultural framework by building on this substrate of influence. Based largely upon the unfinished novel by French para-surrealist René Daumal, Le Mont Analogue: Roman d'aventures alpines, non euclidiennes et symboliquement authentiques (1952), The Holy Mountain evokes Jodorowsky’s fascination with surrealism since his involvement with theatre and poetry in Santiago, Chile during the 1950s, and his collaboration in the para-surrealist group Panique in France and Mexico starting in in 1962. Continuing his long-standing homage to Leonora Carrington and Antonin Artaud in The Holy Mountain, Jodorowsky explores a saturated visual world of the occult, alchemy, the tarot, and altered states of consciousness in a barrage of experimental tactics throughout the film.

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Surrealism and film after 1945

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