Surrealism and Film After 1945

Kristoffer Noheden is Reader in Cinema Studies at Stockholm UniversityAbigail Susik is Joint Series Editor of the Bloomsbury Transnational Surrealism Book Series

• Introduction: absolutely modern mysteries – Abigail Susik and Kristoffer Noheden1 Surrealist networks and the films of Maya Deren – Krzysztof Fijalkowski2 Savage art: Michel Zimbacca's L’Invention du monde – Michael Löwy3 Joseph Cornell’s American appropriation of surrealism by means of cinema – Tom Gunning4 Buñuel renascitur: return of the prodigious son – Paul Hammond5 From Max Ernst’s collage to Jean Desvilles' cut-out animation: transposing Une semaine de bonté to film – Arnaud Maillet6 The uncontrollable in art: the Second Situationist International on freedom, Freddie, and film – Mikkel Bolt Rasmussen7 From Paris n’existe pas to Berkeley Square: surrealism, time travel and ‘second sight’ – Gavin Parkinson8 ‘Open the locksmiths’: on the collaboration between surrealism and Positif – Michael Richardson9 Mobile surrealism: Leonora Carrington’s cinematic adventures in Mexico – Felicity Gee10 The alchemy of surrealist presence in Alejandro Jodorowsky’s The Holy Mountain – Abigail Susik11 Surrealist cinema in the Anthropocene: Nelly Kaplan, Jan Švankmajer, and the revolt of animals – Kristoffer NohedenIndex

Selected as an August 2022 Choice Top 75 Community College Title‘This collection is a labor of love by a group of scholars. Noheden and Susik chose the essays well: all are informative and well-written... The collection amply proves the thesis – that in the post-1945 period surrealism was alive and kicking and its influence on later filmmakers cannot be doubted.’W. A. Vincent, Choice Reviews. All rights reserved. Copyright by the American Library Association.‘In this major contribution to the burgeoning canon of interdisciplinary critical work in surrealism studies, Noheden and Susik have gathered together exciting new essays by leading scholars in the field, offering detailed historical and theoretical analyses of key films and directors which will wholly recalibrate our understanding of post-war developments in surrealism and its cinematic expressions.’Patricia Allmer, author of Lee Miller: Photography, Surrealism, and Beyond‘The marvellous essays in Noheden and Susik’s Surrealism and film after 1945 make a compelling case for post-1945 as truly the movement’s “age of cinema” and a golden one at that. Sharpening our understanding of surrealist engagements with cinema and cinematic engagements with surrealism while inviting us to go expansively beyond the commonly understood historic and geographic boundaries, the essays in this collection provide a wondrous set of “enchanted wanderings” through postwar cinema, film culture and aesthetics. I am equally excited by what this collection accomplishes – in terms of a richer sense of the place(s) of surrealism in cinema’s modern era and its global nature – as I am by the new inquiries and itineraries it will surely inspire.’James Leo Cahill, author of Zoological Surrealism: The Nonhuman Cinema of Jean Painlevé