Monnografico Salvador Dali/ Salvador Dali Monographic
Monnografico Salvador Dali/ Salvador Dali Monographic
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Customer Review: Dali’s entire world at a glance
Wonderful. Allows you to see Dali’s best work in snap shots. Much cheaper…and mobile than the originals!
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Customer Review: A comprehensive guide to Dali’s work in film
The success and notoriety of the films Un Chien Andalou (1929) and its follow-up L’?ge d’or (1930) have not only cast an indelible shadow over the treatment of surrealism and cinema as a whole–Robert Short’s recent book The Age of Gold: Surrealist Cinema (2003), for instance, is devoted almost entirely to Un Chien Andalou and L’Age d’Or (there is an additional short chapter on The Seashell and The Clergyman of 1928)–it has also obscured consideration of Dal?’s personal involvement with film beyond those two seminal works, both within and beyond his involvement with the surrealist movement. As an introduction and guide through the complicated history of the various film projects Dal? would continue to undertake throughout his life, Elliott King’s Dal?, Surrealism, and Cinema should prove useful in bringing public attention back to that material and serve more generally to open up a greater awareness of the multifarious nature of Dal?’s artistic activity. This book provides a chronological tour through over 20 film projects of Dal?’s, collected broadly under the headings of his surrealist period, `Hollywood’, and `Later Films’. While this inescapably includes accounts of Un Chien Andalou and L’?ge d’or, King’s focus is primarily on the later projects, which took on a variety of forms. Some, like Surrealist Mysteries of New York and The Explosion of The Swan never got beyond the stage of embryonic scenarios; others would be aborted collaborations with the likes of The Marx Brothers and Alejandro Jodorowsky; and more importantly, the book details Dal?’s pioneering ventures into the realm of video with Chaos and Creation, as well as television with Impressions of Upper Mongolia-Homage to Raymond Roussel. King fills the book with a plenitude of important historical observations as well as a number of entertaining anecdotes that one might expect from Dali. King takes us carefully back through many of the experiments, collaborations, and imaginings that have long been overlooked in respect to Dali’s film work. It is a worthwhile journey and King’s book should prove to be a valuable resource for studies of Dal?’s lifelong involvement with film.
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