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Review
Source Magazine: "Bate's interweaving of semiotics, psychoanalysis and photographic conventions is a useful model... extensive examination of the relationship between Surrealism, colonialism and ethnography that has until recently been overlooked..." The Art Book: "new and interesting observations" "I can only advise that you buy the book" Bookforum: "provides a rich feast of carefully researched insights..." "This is a much-needed work of scholarly restoration..." "a welcome antidote to popular notions of Surrealism as apolitical 'shock art' or as phallocentric and sexually exploitative." 'Cogent and Satisfying.' - History of Photography
Product Description
As "surreal" images become ever more common through the ease of computer manipulation, the place in history occupied by Surrealism and the Surrealists can easily be lost to sight. This challenging re-evaluation of the status and use of photographic images in historical Surrealism puts Surrealism's fundamental issues back into the framework of its historical purpose and function. David Bate examines automatism and the photographic image, the Surrealist passion for insanity, ambivalent use of Orientalism, use of Sadean philosophy and the effect of fascism of the Surrealists. The book is illustrated wtih a wide range of surrealist photographs.
Inside This Book
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First Sentence
'Photography is unclassifiable,' says Roland Barthes at the beginning of Camera Lucida. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
'Photography is unclassifiable,' says Roland Barthes at the beginning of Camera Lucida. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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