In addition to its more well known literary and artistic origins, the French surrealist movement drew inspiration from currents of psychological anxiety and rebellion running through a shadowy side of mass culture, specifically in fantastic popular fiction and sensationalistic journalism. The provocative nature of this insolent mass culture resonated with the intellectual and political preoccupations of the surrealists, as Robin Walz demonstrates in this fascinating study. Pulp Surrealism weaves an interpretative history of the intersection between mass print culture and surrealism, re-evaluating both our understanding of mass culture in early twentieth-century Paris and the revolutionary aims of the surrealist movement. Pulp Surrealism presents four case studies, each exploring the out-of the-way and impertinent elements which inspired the surrealists. Walz discusses Louis Aragon's Le paysan de Paris, one of the great surrealist novels of Paris. He goes on to consider the popular series of Fantômes crime novels; the Parisan press coverage of the arrest, trial, and execution of mass-murderer Landru; and the surrealist inquiry "Is Suicide a Solution?", which Walz juxtaposes with reprints of actual suicide faits divers (sensationalist newspaper blurbs). Although surrealist interest in sensationalist popular culture eventually waned, this exploration of mass print culture as one of the cultural milieux from which surrealism emerged ultimately calls into question assumptions about the avant-garde origins of modernism itself.
Pulp Surrealism and Other Visions: The Art of Beric Henderson
Film Culture and the Worlds of Samuel Fuller, Mickey Spillane, and Jim Thompson Peter Stanfield. 28. 29. 30. ... Other than the “screen test,” compressed (and extended) versions of Spillane's work are found in the newspaper comic strip, ...
23 See David Bate , Photography and Surrealism : Sexuality , Colonialism and Social Dissent ( London : I. B. Tauris , 2004 ) , 46-53 . 24 Aragon , “ Il m'est impossible , ” 136 . 25 Le Libertaire , 26 January 1923 , I. 46 Ibid .
See also Gerhard, “Wild Dreams of a New Beginning,” 79. Péret, “Magic,” 91. See Breton, “Second Manifesto of Surrealism,” 123–124. Péret, “Thought Is One and Indivisible,” 25–26. Péret, “Magic,” 92. See Stansell, “Surrealist Racial ...
Current and former colleagues at UH, Amy Powell, Jenni Sorkin, David Politzer and Keliy Anderson-Staley and those at Rice ... Merriann Bidgood, Andrea Johnson and Karina Duran facilitated multiple administrative aspects of this project ...
The third director we might consider whose consistently presented worldview approximated to that of surrealism was Tod Browning. Unlike the other two directors, however, love is not a theme of Browning's work; in fact it rarely makes an ...
Gothic drama is characterised by Cox in terms of 'a new aesthetic of sensationalism', with a fresh focus upon the villain as central character, an often sadistic figure driven by 'erotic energy', and as most strikingly exemplified in ...
one another, and there would be a danger of allowing Dada to simply become conflated with Surrealism if one failed to ... formerly one of the impresarios of Zurich Dada, could, after all, be seen as equally important to the formation of ...
... Surrealism (1935; London: Routledge, 1970), p. 80. 17 I thus disagree with Paul C. Ray, who argued in 1965 that ... Pulp Surrealism: Insolent Popular Culture in Early Twentieth-Century Paris (Oakland: University of California Press ...
10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 7 Kaplan and Roussin, 'Céline's Modernity', 428–9. ... and Thomas C. Spear (eds), Céline and the Politics of Difference (Hanover, NH: University Press of New England, 1995), pp. 120–39 (p.