Leonora Carrington’s cinematic adventures in Mexico
uncanny eroticism that explores sexual power dynamics – naked female bodies served as banquets, bound or caged; femme-enfants chased wearing diaphanous white garments; and overly made-up women performing the Gothic trope of the madwoman – Mansion is in dialogue with both the Gothic and surrealism. The film is part of a mobile legacy of surrealism, and a significant work in Carrington’s oeuvre. By mobile, I refer in the first instance to the migration of surrealist artists and writers, those forced to a life in exile and those uprooted for other reasons, which
In 1943, Suzanne Roussi Césaire, wife of the poet-politician Aimé Césaire and co-founder with him, René Ménil, and Astride Maugée of the influential 1940s Martinican cultural review Tropiques , eulogised, resurrected, and reinvented surrealism for a Caribbean context in an essay titled ‘1943: Le Surréalisme et nous’:
Beaucoup ont cru que le Surréalisme était mort. Beaucoup l’ont écrit: Puérilité: son activité s’étend aujourd’hui au monde entier et le surréalisme demeure
Surrealism and film after 1945 is the only available volume devoted to the diverse permutations of international surrealist cinema after the canonical inter-war period. The collection features eleven essays by prominent scholars such as Tom Gunning, Michael Löwy, Gavin Parkinson, and Michael Richardson. An introductory chapter offers a historical overview of this period as well as a theoretical framework for new methodological approaches. Taken as a whole, the collection demonstrates that renowned figures such as Maya Deren, Alejandro Jodorowsky, and Jan Švankmajer took part in shaping a vibrant and distinctive surrealist film culture following World War II. Interdisciplinary, intermedial, and international in scope, the volume follows upon recent advances in art history, which have demonstrated that surrealism’s post-war existence has been dynamic, vivid, and adventurous. Beyond the canonical inter-war period, surrealism immersed itself in myth and occultism, participated in anti-colonial struggles, influenced the rise of a youth counterculture, and presented new perspectives on sexuality and eroticism, all of which feed into the permutations of surrealist cinema. Addressing highly influential films and directors related to international surrealism during the second half of the twentieth century, this collection expands the purview of both surrealism and film studies by situating surrealism as a major force in post-war cinema.
will keep getting
Taking these millennial remarks by Penelope Rosemont into
consideration, it becomes apparent that there can be no detailed account
of the surrealist work refusal without a discussion of the Chicago
Surrealist Group’s decisive contributions to
this discourse. Of the various manifestations of international
surrealism occurring in the twentieth century, this group is one of the
most directly tied to the critique of wage labour in capitalism and the
activist fight for worker
Surrealism was a cultural and artistic success; but these were precisely the areas of least importance to most Surrealists. Their aim was not to establish a glorious place for themselves in the annals of art and literature, but to change the world, to transform life itself.
Luis Buñuel (quoted in Harper and Stone, 2007 : 3)
The previous chapters examined cinematic representations of the Spanish Civil War whose politics were in keeping with the dominant ideological positions of the countries from which they emanated. This chapter, in contrast, deals
Joseph Cornell: surrealist or symbolist?
From 1932 until his death in 1972 Joseph Cornell produced a series of major works – boxes, collages, and films – expanding and transforming the idiom of surrealism through a profoundly American appropriation, deeply mediated by cinema. Cornell is best known for his boxes, rectangular shallow containers covered with glass that frame a variety of juxtaposed objects, images, and texts. These boxes recall surrealist objects, such as those showcased in the 1936 Exposition surréaliste d’objets , or the Dada objects of Kurt
Whilst many women surrealists worked across different media such as painting,
sculpture, photography, and writing, contemporary historiographies have tended
to foreground the visual aspects of this oeuvre. Featuring original essays by
leading scholars of surrealism, Surrealist Women’s Writing: A Critical
Exploration offers the first sustained critical inquiry into the writing of
women associated with surrealism. The volume aims to demonstrate the
extensiveness and the historical, linguistic, and culturally contextual breadth
of this writing, as well as to highlight how the specifically surrealist poetics
and politics that characterise these writers’ work intersect with and contribute
to contemporary debates on, for example, gender, sexuality, subjectivity,
xenophobia, anthropocentrism, and the environment. Drawing on a variety of
innovative theoretical approaches, the essays in the volume focus on the writing
of a number of women surrealists, many of whom have hitherto mainly been known
for their visual rather than their literary production: Claude Cahun, Leonora
Carrington, Kay Sage, Colette Peignot, Suzanne Césaire, Unica Zürn, Ithell
Colquhoun, Leonor Fini, Dorothea Tanning and Rikki Ducornet. Surrealist
Women’s Writing: A Critical Exploration offers an important resource for
scholars and students across the fields of modernist literature, the historical
avant-garde, literary and visual surrealism and its legacies, feminism, and
Surrealist sabotage and the war on work is an art-historical study devoted to international surrealism’s critique of wage labour and its demand for non-alienated work between the 1920s and the 1970s. The Introduction and Chapter 1 frame the genealogy of surrealism’s work refusal in relation to its inter-war investment in ultra-left politics, its repudiation of French nationalism, and the early twentieth-century development of sabotage theory in the labour movement. Chapter 2 proposes an interpretation of surrealist automatism in 1920s France as a subversion of disciplined production in the emerging information society and also reperformance of feminised information labour. Chapter 3 is a study of autoeroticism and autonomy in Spanish surrealist Óscar Domínguez’s depictions of women’s work tools, such as the sewing machine and the typewriter, in works of art across media during the 1930s. Chapter 4 provides a historical account of labour activism in Chicago surrealism during the 1960s and 1970s, including an analysis of the Chicago surrealist epistolary exchange with German philosopher Herbert Marcuse. An Epilogue considers the paintings that German surrealist Konrad Klapheck made depicting sewing machines, typewriters, and other tools of information labour during the 1960s, in conjunction with related works by other surrealists such as Giovanna. As a whole, Surrealist sabotage and the war on work demonstrates that international surrealism critiqued wage labour symbolically, theoretically, and politically, through works of art, aesthetics theories, and direct actions meant to effect immediate social intervention.
This book offers a comprehensive account of the absurd in prose fiction. As well as providing a basis for courses on absurdist literature (whether in fiction or in drama), it offers a broadly based philosophical background. Sections covering theoretical approaches and an overview of the historical literary antecedents to the ‘modern’ absurd introduce the largely twentieth-century core chapters. In addition to discussing a variety of literary movements (from Surrealism to the Russian OBERIU), the book offers detailed case studies of four prominent exponents of the absurd: Franz Kafka, Samuel Beckett, Daniil Kharms and Flann O'Brien. There is also wide discussion of other English-language and European contributors to the phenomenon of the absurd.
The Traumatic Surreal is the first major study to examine the ground-breaking roles played by Germanophone women artists working in surrealist traditions in responding to the traumatic events and legacies of the Second World War. Analysing works in a variety of media by leading artists and writers, the book redefines the post-war trajectories of Surrealism and recalibrates critical understanding of its relations to historical trauma. Chapters address artworks, writings, and compositions by the Swiss Meret Oppenheim, the German Unica Zürn, the Austrian Birgit Jürgenssen, the Luxembourg-Austrian Bady Minck, and the Austrian Olga Neuwirth and her collaboration with fellow Austrian Nobel-prize winning novelist Elfriede Jelinek. Locating each artist in their historical context, the book traces the development of the traumatic surreal through the wartime and post-war period.