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Salvador Dali had with the film a fruitful relationship, through collaborations with Buñuel, Hitchcock and Disney, and sometimes frustrating, to be a lot of unfinished projects, as evidenced by the book "Dali and film. "
Published by Electa, the work offers a new interpretation of this aspect of the painter and in depth with the film projects of the Catalan artist, who, besides working with Buñuel in "The Golden Age" and "Un Chien Andalou, made paintings, drawings, manuscripts, screenplays and even trials related to the cinema, explained the book's publisher, Matthew Gale.
Dali, one of the most eccentric painters of the twentieth century, was also outstanding in his role as director as reflected in "Dalí and Film" in its pages shows that his creative universe was always marked by the seventh art, " he saw as a dream roaming offering new possibilities, "said Gale.
The editor noted that the book offers a new interpretation of the artist's film projects by some of the leading experts in their work and life, among which are Dawn Ades, Montse Aguer and Felix Fanés.
As a child of his time, "Dalí grew up with movies," and in fact, was born "the same year that Edison opened the room," the first film of Figueras, his birthplace, he reminded the editor.
"Many of the projects that were unfinished devised either by the limits posed by the ambition of Dali, for his personal conception of cinema", which especially in the decade of the 30 and 40, are based more on exploration in a statement of intent.
theories on film Dalí emerged in the early 30's, following his admiration for "the epic stories and melodramas typical of Italian cinema of the First World War," said Matthew Gale.
Dalí was fascinated by the extravagance and irrationality of the comic genre, wondering how they moved this fantasy into everyday life "without difficulties and objections." As explained
Gale, in their projects, proposed Dalí always new ways of visual representation that tested both "technical capacity of the cinematic process," as in the suspended pianos he devised for "Spellbound" Hitchcock-like taste the viewer, for example in the case of rotting donkeys that you created in "Un Chien Andalou."
From the standpoint of his "paranoiac-critical method", the film allowed translate into reality the coexistence of two double images. "This idea is reflected in the scene of an armpit hair that turns into a sea urchin in" Un Chien Andalou ", or in some sequences after he created for" Destino "Walt Disney".
The artist saw the comedy in general, and the "antics" of the Marx Brothers in particular, a form of "subversion of normality" he admired, expressed through the "concrete irrationality" with which the painter comparing the surrealist technique, Gale told Efe.
On the other hand, was always a rejection by the work of Abel Gance directors like Fritz Lang and the film's own avant-garde abstract Richter and Man Ray, because they believed were examples of what he and other surrealists called the "art cinema", which tended to "dangerously operatic and theatrical," said the editor.
Instead, Dalí was always a supporter of the film "anti-artistic" films represented by the democratic, popular and imaginative from Hollywood, devoid of pretension and who could adapt to a mass audience.
"Dalí and Film" is an addition to the exhibition "Dalí & Film" is exhibited at the Tate Modern in London, and later in the Salvador Dali Museum in St. Petersburg and the Museum of Modern Art (MoMA) New York, among others.
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