16/06/2007 - 1:00pm
Was there, for Dalí, a special appeal in film? Was it an alternative to his paintings, adaptable to certain effects beyond the reach of the canvas? Was it an extension of the pictorial image, or rather of his writings? Dawn Ades reviews Dalí's affair with film, a story of disappointments and optimism.
Further Reading
Paul Hammond L'Age d'or BFI Film Classics 1997
Dawn Ades "Morphologies of Desire" in Salvador Dali: The Early Years South Bank Centre 1994
Salvador Dali "The Rotting Donkey" (1930) in Haim Finkelstein The Collected Writings of Salvador Dali CUP 1998 p.223
Translation of Dali "Art Film, Anti-Artistic Film" (1927) in the Dali & Film, exh. cat., Tate Modern, London 2007
Surrealism & Film
Was there, for Dalí, a special appeal in film? Was it an alternative to his paintings, adaptable to certain effects beyond the reach of the canvas? Was it an extension of the pictorial image, or rather of his writings? Dawn Ades reviews Dalí's affair with film, a story of disappointments and optimism.
Further Reading
Paul Hammond L'Age d'or BFI Film Classics 1997
Dawn Ades "Morphologies of Desire" in Salvador Dali: The Early Years South Bank Centre 1994
Salvador Dali "The Rotting Donkey" (1930) in Haim Finkelstein The Collected Writings of Salvador Dali CUP 1998 p.223
Translation of Dali "Art Film, Anti-Artistic Film" (1927) in the Dali & Film, exh. cat., Tate Modern, London 2007
Surrealism & Film