Abstract from an essay I did in 2011 on French surrealism.  Breton observed in his first Manifesto of Surrealism (1924) that “what is admirable in the fantastic is that there is no more fantastic, there is only the real.” I discuss the validity of this statement and illustrate with examples from Dulac’s La Coquille et le Clergyman and also Buñuel’s L’Âge d’Or and Un Chien Andalou.  Read the remainder of the abstract here.

Buñuel’s Un Chien Andalou