An elegant consideration of the Surrealist movement as a global phenomenon and why it continues to resonate Why does Surrealism continue to fascinate us a century after André Breton's Manifesto of Surrealism? How do we encounter Surrealism today? Mark Polizzotti vibrantly reframes the Surrealist movement in contemporary terms and offers insight into why it continues to inspire makers and consumers of art, literature, and culture. Polizzotti shows how many forms of popular media can thank Surrealism for their existence, including Monty Python, Theatre of the Absurd, and trends in fashion, film, and literature. While discussing the movement's iconic figures--including André Breton, Leonora Carrington, Salvador Dalí, René Magritte, Man Ray, and Dorothea Tanning--he also broadens the traditionally French and male-focused narrative, constructing a more diverse and global representation. And he addresses how the Surrealists grappled with ideas that mirror current concerns, including racial and economic injustice, sexual politics, issues of identity, labor unrest, and political activism. Why Surrealism Matters provides a concise, engaging exploration of how, a century later, the "Surrealist revolution" remains as dynamic as ever.

An elegant consideration of the Surrealist movement as a global phenomenon and why it continues to resonate Why does Surrealism continue to fascinate us a century after André Breton’s Manifesto of Surrealism? How do we encounter Surrealism today? Mark Polizzotti vibrantly reframes the Surrealist movement in contemporary terms and offers insight into why it continues to inspire makers and consumers of art, literature, and culture. Polizzotti shows how many forms of popular media can thank Surrealism for their existence, including Monty Python, Theatre of the Absurd, and trends in fashion, film, and literature. While discussing the movement’s iconic figures—including André Breton, Leonora Carrington, Salvador Dalí, René Magritte, Man Ray, and Dorothea Tanning—he also broadens the traditionally French and male-focused narrative, constructing a more diverse and global representation. And he addresses how the Surrealists grappled with ideas that mirror current concerns, including racial and economic injustice, sexual politics, issues of identity, labor unrest, and political activism. Why Surrealism Matters provides a concise, engaging exploration of how, a century later, the “Surrealist revolution” remains as dynamic as ever.

This book examines the salient ideas and practices that have shaped Surrealism as a protean intellectual and cultural concept that fundamentally shifted our understanding of the nexus between art, culture, and politics. By bringing a diverse set of artistic forms and practices such as literature, manifestos, collage, photography, film, fashion, display, and collecting into conversation with newly emerging intellectual traditions (ethnography, modern science, anthropology, and psychoanalysis), the essays in this volume reveal Surrealism's enduring influence on contemporary thought and culture alongside its anti-colonial political position and international reach. Surrealism's fascination with novel forms of cultural production and experimental methods contributed to its conceptual malleability and temporal durability, making it one of the most significant avant-garde movements of the twentieth century. The book traces how Surrealism's urgent political and aesthetic provocations have bequeathed an important legacy for recent scholarly interest in thing theory, critical vitalism, new materialism, ontology, and animal/human studies.

Long unavailable in English, Surrealism and Painting remains one of the masterworks of twentieth-century art criticism."--BOOK JACKET.

Tweety Bird was colored yellow because censors felt the original pink made the bird look nude. Betty Boop's dress was lengthened so that her garter didn't show. And in recent years, a segment of Mighty Mouse was dropped after protest groups claimed the mouse was actually sniffing cocaine, not flower petals. These changes and many others like them have been demanded by official censors or organized groups before the cartoons could be shown in theaters or on television. How the slightly risque gags in some silent cartoons were replaced by rigid standards in the sound film era is the first misadventure covered in this history of censorship in the animation industry. The perpetuation of racial stereotypes in many early cartoons is examined, as are the studios' efforts to stop producing such animation. This is followed by a look at many of the uncensored cartoons, such as Lenny Bruce's Thank You Mask Man and Ralph Bakshi's Fritz the Cat. The censorship of television cartoons is next covered, from the changes made in theatrical releases shown on television to the different standards that apply to small screen animation. The final chapter discusses the many animators who were blacklisted from the industry in the 1950s for alleged sympathies to the Communist Party.

"Searching for a deeper understanding of the power and influence of surrealist art, Nadia Choucha clearly confirms that many surrealists and their predecessors were steeped in magical ideas. The Theosophical involvement of Kandinsky, the visionary paintings of Salvador Dali, the alchemy of Pablo Picasso, and the shamanism of Max Ernst and Leonora Carrington all demonstrate the fundamental and dynamic impact of magic and mysticism on surrealism. Surrealist artists believed that society had much to learn from the unconditioned, spontaneous forms of art produced by spiritual mediums, children, untutored artists, and the insane. In their attempt to tap the unconscious regions of the mind, the surrealists borrowed imagery from alchemy, the Tarot, Gnosticism, Tantra, and other esoteric traditions and sought inspiration from ancient myths, 'irrational' thought, and ethnic art. Enhanced by both color and black-and-white reproductions of fine art, Choucha's account explains the intimate connections between occult and surrealist philosophies and provides an essential key to the mysteries of the surrealist movement and the forces that give it life" --Back cover.

The closest Andre Breton has ever come to writing an autobiography, Conversations--based on a series of radio interviews conducted with the founder of Surrealism in 1952--chronicles the entire Surrealist movement as lived from within, tracing the origins and development of Surrealism from the discovery of automatic writing in 1919 to the Surrealists' ideological debate with communism and their opposition to Stalin.

A collection of both of the Manifestoes of Surrealism written by Andre Breton in 1924 and 1929. The pocket book size to make the two manifestoes more accessible in print without being part of some collected works.

Surrealism Beyond Borders challenges conventional narratives of a revolutionary artistic, literary, and philosophical movement. Tracing Surrealism's influence and legacy from the 1920s to the late 1970s in places as geographically diverse as Colombia, Czechoslovakia, Egypt, Japan, Korea, Mexico, the Philippines, Romania, Syria, Thailand, and Turkey, this publication includes more than 300 works of art in a variety of media by well-known figures—including Dalí, Ernst, Kahlo, Magritte, and Miró—as well as numerous artists who are less widely known. Contributions from more than forty distinguished international scholars explore the network of Surrealist exchange and collaboration, artists' responses to the challenges of social and political unrest, and the experience of displacement and exile in the twentieth century. The multiple narratives addressed in this expansive book move beyond the borders of history, geography, and nationality to provocatively redraw the map of Surrealism.

Aptly described by playwright Eugene Ionesco as one of the four or five great reformers of modern thought, Andre Breton (1896-1966) was the founder and prime mover of Surrealism, the most influential artistic and literary movement of the 20th century. Poet and theorist, artistic impresario and political agitator, Breton was a man of paradoxical character: inspiring one moment, crushingly tyrannical the next; embracing friends like Brunuel, Dali, Duchamp, Miro, Man Ray, Aragon and Eluard, only to exile them as enemies later. From its emergence from Dada after World War I through its culmination in the 1960s, here is the Surrealist world in detail. --Black Widow Press.