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The purpose of this article is to analyse Elena Garro's poetry compiled in Cristales de tiempo (2008) from a hermeneutical point of view. For biographical reasons, the Mexican author's lyrical production has been relegated to a second line within the 20th century Latin American poetics. For this reason, in this paper we examine some of her most significant poems, highlighting her adherence to a surrealist aesthetic in which the lyrical voice finds no possible refuge other than escape to other realities. [ABSTRACT FROM AUTHOR]

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La psicogeografía y otros juegos poéticos con el espacio urbano, que surrealistas y situacionistas entendieron como armas de cambio revolucionario, deben ser analizados en sus contextos socioecológicos e históricos específicos. Así, la época canónica de la psicogeografía hay que entenderla en el marco de la realidad metabólica de la Gran Aceleración y su efecto sobre la ciudad, con el paso del carbón al petróleo como centro de nuestra matriz energética. El artículo analiza estas conexiones e indaga en las nuevas realidades socioecológicas que una psicogeografía del siglo XXI debe asumir como punto de partida: la consumación de la ciudad neoliberal y la crisis ecológica de la civilización industrial.

This article aims to discuss the relationship that the surrealists had with the real city and, from there, to examine some of the urban spaces they preferred, where they identified possibilities of apprehension that differed from those of common sense. In this regard, this work initially focuses on the surrealist making and on the possibility of existence of a surrealist architecture or a surrealist city. Next, we will have a look at some of the games that the surrealists played about the real city, imagining possibilities of intervention; then we will try to identify the seduction that certain architectures exerted on them, such as the expressions of the so-called Art Nouveau and the commercial gallery (covered passage) spaces. In addition, we will look at some characters and architectures that are close to the values which the surrealists advocate, configuring a writing of dreams. Finally, we will examine some architects whose work is surrealist or very close to surrealism. [ABSTRACT FROM AUTHOR]

This article discusses how the surrealist imagetic-poetic creation shapes both an esthetic and an ethical attitude. It defends the perspective that surrealist practices paved the way to new subjectivation modes of individuals from westernized societies, insofar as they question commonly established dichotomies such as: body-mind; human-non-human; naturesociety; subject-object. Thus, a discussion was developed surrounding the surrealist image, based on the First Manifesto written by André Breton. Subsequentially, it was discussed how the work of Antonin Artaud and Hilda Hilst reverberated some of the surrealist proposals, each in their own way. Finally, it becomes clear that the artists and poets who adopted the practices of surrealism sought to affect both the field of language and literature, destabilizing them and, at the same time, forming new and until then unthought-of images. [ABSTRACT FROM AUTHOR]

This work analyzes how Surrealism as an ethical, aesthetic, and political proposal can contribute to rethinking teaching practice in Early Childhood Education. This problem consists of “How can Surrealism broaden the understanding of teaching practices in Early Childhood Education, from the perspective of Walter Benjamin?”. A question arises given the need to think about an educational practice with children that allows creativity, freedom, and imagination. The central objective of this work is to investigate the possible relationship between Surrealism and Early Childhood Education, emphasizing the role of education and the concept of childhood from the perspective of Walter Benjamin, to broaden the understanding of teaching practices in Early Childhood Education. For this, bibliographical research was used. The analyses demonstrate that the ethical, aesthetic, and political proposals of Surrealism are close to childhood and can provide a teaching practice in Early Childhood Education that values imagination, playfulness, creativity and the importance of building collective history. [ABSTRACT FROM AUTHOR]

The article aims to analyze the presence of poetry in the pictorial work of Juan Miró, an artist who established a lasting dialogue with poets after his entry into the surrealist group. This dialogue proved to be decisive for the development of an unprecedented plastic expression, supported by the notion of "poetic image" as defined by André Breton in the Manifesto of Surrealism, and which gave rise to "dream paintings" and "poem paintings". The works carried out in the period from 1924 to 1927 will be privileged in the analysis due to the combination and/or fusion that can be observed there of writing with image, poetry and painting, as well as the dream theme, resulting in the conception of a picto-poetry and in the affirmation of the artist as a poet. [ABSTRACT FROM AUTHOR]

Starting from the observation that the word "surrealism" is commonly used in confusing, contradictory or suspicious meanings, this article sets out to clarify the essential principles of the movement. It begins by quoting a passage from the 1924 Manifesto, in which André Breton already distinguished the spirit and the letter of surrealism. It then looks at two questions: who can call himself a surrealist? And what does it mean to be surrealist?, in order to then elucidate the distinction between being a surrealist and appearing to be surrealist. Next, it studies the historical limits of the surrealist movement and points out the eternal values with which surrealism identifies itself: love, freedom and poetry. In summary, the article shows that a rigorous definition of the letter of surrealism allows us to specify its spirit even more freely, as well as to locate the surrealist movement historically. By way of conclusion, the author closes with some personal comments on surrealism, in which he situates himself as a militant of the movement, from 1964 to 1969, as a writer and as a defender of the surrealist spirit. [ABSTRACT FROM AUTHOR]

Alejo Carpentier’s work is known for its scathing disprovals of surrealist ideas. Although, at young age, the author promoted the movement and built himself intellectually from within surrealist precepts, as well as attached to surrealist artists. The presumed disruption with Surrealism is a benchmark in Carpentier’s literary production and shows an ambiguous position, since it is possible to track significant surrealist traces in his essays and narratives. The main concept linked to the author (the "Marvelous Real") is in the spotlight between the rejection of surrealism, as a basic precept, and the resumption of some of itsideas. In this work, we aim to analyze the contradictory position of Carpentier’s discourse through the dialogue between essays written by him at different moments of life, as well as their comparison with critical works on the subject. [ABSTRACT FROM AUTHOR]

This article aims to problematize the relationship between automatic writing and the marvelous. To do so, we start from the interest of young André Breton in creative processes beyond the literary sphere, in a context where, in addition to Freud's recent discoveries about the unconscious, various experiences intersect: a poetic production that experiments with the decentralization of the creating subject, scientific investigations in the field of neurology and psychiatry on automatic psychic phenomena, and belief in the manifestation of life after death. All these experiences point to the same issue: the manifestation of thought, free from the coercion of morality, taste, and reason. Although there is something universal in this issue, perhaps inherent to the poetic experience itself, we recognize that surrealist automatism is an original "war machine" against reflection and language, the literary institution, the notion of reality, and the foundations of modernity. Despite all the controversies surrounding surrealist automatic writing, it makes a difference because it is all difference; by freeing language from its communicative function, it does not express the freedom of man, it is freedom in action, revealing the unknown and opening the doors to the marvelous. [ABSTRACT FROM AUTHOR]

Jules Supervielle (1884-1960) had a life marked by movements between Europe and South America. Born in Montevideo and living in Paris since 1894, he witnessed up close major events in different areas, such as the artistic avant-garde, rapid technological evolution and the First World War. He developed his poetic voice in this context shared with Guillaume Apollinaire (1880-1918), André Breton (1896-1966), Louis Aragon (1897-1982), among other writers. In 1924, when Breton published the Manifesto of Surrealism, Supervielle was about to release one of his most important poetry books. In this article, we propose to analyze how this French-Uruguayan poet, through testimonies and theoretical reflections, seeks to individualize himself in relation to the surrealist aesthetic, established with great influence from the first manifesto onwards. We will also explore, in addition to divergences, at which points they would converge, and why such approximations would be possible. With this approach, we intend, in addition to studying the poetics of Jules Supervielle, to contribute to the understanding of the complexity of surrealism, exploring its diffusion and reception in the artistic world since its emergence. [ABSTRACT FROM AUTHOR]

This article proposes a reflection on texts written throughout the 20th century in different social, cultural, and literary spaces, but which have relationships that are either divergent or contiguous. Thus Massak (1986), a play by Guyanese writer Elie Stéphenson, is related to Le Nègre du Gouverneur (1972), a narrative by Serge Patient, another Guyanese writer. Both have in common a legendary character from French Guiana, the African D'Chimbo. I will start by briefly discussing this character and Serge Patient's narrative, and then introduce Massak, who stages the episode of the revolt of the Maroons in French Guiana. I will then mention “Que foi o Quilombo dos Palmares” (What was Quilombo dos Palmares, 1956), an essay by the surrealist poet Benjamin Péret, to recall the proximity between marronage and the Palmares revolt, its defense of freedom without concessions, opposed in every way to black assimilation. Finally, I will comment on how the options of freedom and absolute non-conformism appear in the text of André Breton’s Manifesto of Surrealism (1924). The defense of these two options is evident both in the trajectory of the authors concerned and in their texts and, even today, seems to be fundamental for the histories and literatures of Latin America. [ABSTRACT FROM AUTHOR]

With its likes and dislikes, rejections and approvals, the Manifesto of Surrealism (1924), by the French poet André Breton (1896-1966), assumed great importance in the context of ideas, culture, the arts, poetry and also in the political world, both in the period in which it was launched and subsequently, to this day. Bearing in mind the difficulty in reading and understanding its content and, not unfrequently, the accusation of obscurity and hermeticism against it, this article aims to examine the Manifesto, identifying the main elements which guided Breton's approach and which will shape the essence of surrealism. To this end, and with the aimof making it easier to understand the abovementioned publication, use is made of the author's teaching experience on the subject and of the wealth of experience it has provided, with the understanding, moreover, that such an approach makes it possible to unveil and value the Manifesto even more. [ABSTRACT FROM AUTHOR]

This article introduces the concepts and becomings that arise from the idea of collage as a loving and creative journey that has as its aim the composition and re-composition of the self and the world. The meanings of collage are exposed; We review the main names of collage in modern art, combining the thoughts of different authors who embrace difference as a tenet based on the fragments and splinters created by modernity. The similarities and differences between collage and montage are made explicit, as well as the way that collections of objects connect with the motion of cutting, searching and pasting, knowing that the process is as or more significant than the final product. This article also outlines and proposes a review of concepts and historiographical dependencies, even from Amerindian and African knowledge, which precede the establishment of collage as a technique in the field of art. [ABSTRACT FROM AUTHOR]

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Este texto muestra la obra de uno de los escritores centroamericanos e hispanoamericanos más importantes del siglo XX. El inicio de este poeta guatemalteco fue en el movimiento vanguardista del surrealismo. Así también, recorre la trayectoria estética de este poeta, su vínculo con la poesía española, la lírica de la soledad, su amor a Guatemala y la poesía ensayística.

La relación entre arte y política constituye uno de los motivos fundamentales de la reflexión estética desde sus mismos orígenes, y más aún en los momentos históricos caracterizados por fuertes movimientos de revolución social. Desde este breve marco, nuestro trabajo se orienta a reconstruir tres posiciones sobre la relación entre el arte y la revolución producida en el período de entreguerras del Siglo XX. En un primer momento, caracterizamos la doctrina del Realismo Socialista propuesta en la Unión Soviética a través del Primer Congreso de Escritores (1934). Luego, nos detenemos en un documento que procuró desmontar los fundamentos de la posición anteriormente señalada: El Manifiesto por un Arte Revolucionario Independiente firmado por León Trotsky y André Breton (1938). Finalmente, exploramos una forma de relación alternativa a las dos posiciones anteriores basándonos en las consideraciones del filósofo alemán Walter Benjamin acerca del Surrealismo y el concepto de imagen (1929).

En 1952, el pintor peruano Fernando de Szyszlo realizó su único cortometraje, Esta pared no es medianera. Junto a otros cortometrajes latinoamericanos surgidos a mediados del siglo xx, este film expresa un interés por recuperar algunas formas expresivas de películas emblemáticas de los años veinte adscritas al movimiento surrealista, ya sea desde el uso de imágenes en clave onírica o desde algunos preceptos del universo temático en torno a la potencia del inconsciente. Este film también refleja que casi tres décadas después de la publicación del “Manifiesto surrealista” (1924), este movimiento literario y artístico siguió vital en el Perú, no solo a través de tertulias, debates, publicaciones de poemas, sino también desde el proceso creativo y tópicos de esta película. A partir del estudio del motivo de la casa como espacio interior y de opresión, el presente artículo establece conexiones entre el concepto teórico de modelo interior (u ojo interior) y la propuesta de interpelación a esa idea que desarrolla el film de Szyszlo. En este sentido, este texto busca demostrar que a través de la figura de la casa se construye en este cortometraje una poética sobre la opresión, en oposición a los espacios exteriores que encarnan la liberación del inconsciente libre de culpa, y por ende, al ojo interior.

Resumen El surrealismo fue uno de los movimientos artísticos más relevantes del siglo XX, sus propuestas sobre el automatismo, los sueños y la irracionalidad como principios creativos, fueron atractivos y polémicos para los círculos intelectuales y de artistas, alcanzando incluso la esfera de lo político debido a su simpatía con los postulados marxistas y de revolución social que pregonaban. El activismo realizado por los surrealistas en medios impresos y en particular el que hizo su líder André Breton, logró una rápida expansión por distintos países, llegando noticias de este movimiento a México aproximadamente en el año de 1925. En el principio se pensó que era una más de las vanguardias en boga de aquella época, pero con el tiempo se convirtió en un referente de innovación para aquellos que deseaban incursionar en las artes plásticas. Su desarrollo se dio en el marco de una serie de paradojas, de ahí, que el objetivo del presente artículo fue el de analizar de manera sucinta el recorrido histórico del surrealismo en sus comienzos en México, y las contradicciones que surgieron en su seno, en el periodo de los años veinte y treinta, para ello este trabajo tuvo un enfoque cualitativo, utilizando de base para su método de estudio el recurrir a fuentes primarias de información hemerográfica e investigación documental de textos especializados con el correspondiente tratamiento hermenéutico. Se concluyó que sí bien el país fue declarado un lugar por excelencia surrealista, en sus primeros pasos se aproxima al primitivismo como una forma de expresión que intenta alejarse del modernismo. Abstract Surrealism was one of the most relevant artistic movements of the 20th century, its proposals on automatism, dreams, and irrationality as creative principles, were attractive and controversial for intellectual and artist circles, even reaching the political sphere due to their sympathy with the Marxist postulates and the social revolution that they proclaimed. The activism carried out by the surrealists in the printed media, and that carried out by their leader André Breton, achieved rapid expansion in different countries, with news of this movement reaching Mexico approximately in the year 1925. At first it was thought to be a more of the avant-garde in vogue at that time, but over time it became a benchmark for innovation for those who wanted to venture into the plastic arts. Its development occurred within the framework of a series of paradoxes, hence the objective of this article was to briefly analyze the historical journey of surrealism in its beginnings in Mexico, and the contradictions that arose within it, in the period of the twenties and thirties, for this purpose this work had a qualitative approach, using as a basis for its study method the recourse to primary sources of hemerographic information and documentary research of specialized texts with the corresponding hermeneutical treatment. It was concluded that although the country was declared a surreal place par excellence, in its first steps it approaches primitivism as a form of expression that tries to move away from modernism.

La Revolución de Octubre vivió debates y posicionamientos cruzados en paralelo a una explosión de vanguardias artísticas que se sumaron a la causa socialista, lo que no estuvo exento de problemas. Este artículo repasa la relación teórica y práctica de algunas de las vanguardias más políticamente comprometidas con la nación soviética y aborda también el otro gran estilo popularizado entonces por críticos y políticos de dicha órbita: el llamado realismo socialista. Así pues, a partir de un análisis comparado de las declaraciones y actuaciones de los principales representantes de sendas corrientes, el texto pretende contribuir al esclarecimiento de la cuestión fundamental: ¿existe un «método artístico socialista»? Y, en tal caso, ¿en qué consiste?; o, por el contrario, ¿se trata de un término difuso del que se apropiaron indistintamente ambas escuelas?

As relações entre Gaston Bachelard e o Surrealismo são inúmeras. Ao analisá-las em detalhe, são ressaltadas as interações, algumas divergências, mas, sobretudo as crenças comuns. Estas repousam essencialmente sobre o poder da imaginação de transformar o universo.

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A través de un breve ejercicio de arqueología gnoseológica, nuestro artí- culo busca deslindar la relación que se le ha atribuido a Churata con la vanguardia y, específicamente, con el surrealismo. Para esto, revisamos los orígenes, más próximos, del mismo, localizados en la condena del sueño llevado a cabo, por Descartes, en El discurso del método. Luego de pasar este repaso por una criba, sostenida por Nietzsche y Foucault, lo contrastamos con las ideas que el escritor arequipeño esbozó en el Boletín Titikaka entre los años 1926 y 1928. A partir de este seguimiento y comparación, es posible afirmar que El pez de oro, principal objeto de estudio churatiano, se encontraría fuera de los intereses epistémicos de la crisis occidental y, por este mismo motivo, se convertiría en una respuesta para esta situación límite a comienzos del siglo xx. Esta conclusión fue posible gracias a un seguimiento detallado de los límites estéticos del proyecto de la modernidad.

El objetivo de este artículo es el de analizar el legado de Remedios Varo desde el giro ontológico que propicia el estudio desde las prácticas artísticas frente a otras concepciones más representacionales. Precisamente encontramos en esta autora del exilio republicano español, el germen de lo que se constituirán los debates de arte contemporáneo a finales del siglo XX en torno a los modos de producción y recepción de obra y su deriva a la investigación de las prácticas artísticas. Por ello, utilizaremos la ontología múltiple, proveniente de los estudios sociales de la ciencia, y la aplicaremos en el análisis de los materiales recogidos en torno a la autora, haciendo especial hincapié en la última década de su exilio en México. Con ello, desplegaremos las retroalimentaciones e hibridaciones de su vida y obra a través de distintas dimensiones conectadas entre sí, como son: la mutabilidad y fluidez de los cuerpos, el tránsito y devenir en las ciudades, las relaciones entre libertad y reclusión de los viajes y, finalmente, el carácter alquímico de las relaciones que atraviesan sus obras. De este modo, atenderemos a las fugas no normativas y desestabilizadoras de su vida y obra y cómo han ido -y continúan- cristalizándose en múltiples sentidos. Este tipo de aproximación a Remedios Varo es importante en cuanto posibilita investigar la historia del arte distanciándose de parámetros canónicos y excluyentes, además de favorecer la construcción de nuevos sentidos futuros de la autora y su obra.

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E por que poesia em tempos de indigência? Sugerimos uma torção na questão originalmente proposta num verso de "Pão e vinho", poema de Hölderlin, e um deslocamento da Alemanha oitocentista à universidade pública brasileira de 2023. O sentimento de crise que atingiu dimensões imprevistas a partir de março de 2020 não é novo, tampouco resultado apenas da pandemia num dos países mais afetados pelo coronavírus. Neste artigo, apresentamos pressupostos da pesquisa "Experiência de poesia: um projeto poético para tempos de indigência", refletindo sobre a perda progressiva do sentido do mundo nos últimos anos, provocada pela combinação indigente da pandemia de Covid-19 com desemprego, luto, solidão e ensimesmamento e seus impactos no trabalho com poesia em sala de aula com alunos da graduação em Letras. Partimos da concepção de Poesia depreendida do nosso trabalho com a obravida de Mário Cesariny, em seu diálogo surrealista e romântico: uma afirmação -- não necessariamente vinculada à escrita de versos -- de um modo de vida revoltado e apaixonado, erguido cotidianamente contra o cotidiano de modo a lançar luz sobre uma produção incessante de imagens do desejo. Será possível, então, operar um retorno à produção escrita para perceber os poemas como potências disruptivas e perturbadoras dos limites imaginativos instaurados pela retórica da crise permanente e seus efeitos cotidianos. Parece-nos urgente a adoção de outras estratégias didáticas para o acesso a uma experiência com a poesia num cenário de crescente miséria e violência, que incidem diretamente sobre as possibilidades de realização libertadora da imagem poética. [ABSTRACT FROM AUTHOR]

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The concept of procedure developed by the Argentine writer César Aira in his essay "La nueva escritura" is the starting point with which, in a critical gesture that stages a certain barbarism, this paper seeks to speculate around a provocation by the Chilean Roberto Bolaño: could there be a "clandestine surrealism in Latin America"?. [ABSTRACT FROM AUTHOR]

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Jean Painlevé (1902-1989) fue un autor de documentales de naturaleza cercano a la vanguardia cinematográfica y a la biología. Este trabajo presenta al autor y a su obra en lengua española y propone que es una referencia para el estudio de una rama surrealista de la historia del documental de naturaleza. Para ello, se realiza un estado de la cuestión a nivel hispano hablante y una breve biografía centrada en la relación del autor con la vanguardia. A continuación, a través de una genealogía estética que tiene a Painlevé como centro, se muestra como su estética no surge de forma espontánea, sino como parte de una red de autores que tiene un acercamiento técnico similar al documental de naturaleza. A este acercamineto se le llama el documental surrealista de naturaleza y las tres técnicas definitorias estudiadas en este artículo son la microcinematografía, las alteraciones temporales y el uso de laboratorios para las grabaciones.

Resumo Ainda que não tenha havido um movimento surrealista no Brasil, alguns modernistas se identificaram com a estética e alguns dos princípios norteadores deste movimento, como por exemplo o inconsciente, e realizaram trabalhos no campo da fotomontagem. Contudo, tais experiências foram ofuscadas, inicialmente pelo desejo de criar um imaginário nacional e, posteriormente, pelo espaço conquistado por obras de caráter mais construtivo.

O presente trabalho se debruça sobre o fotógrafo francês Jacques-André Boiffard (1902 - 1961) e sua primeira publicação na revista “Documents” (1929 - 1930), na qual contribuiu com três fotografias de pés humanos em diálogo com um texto de Georges Bataille, diretor geral do periódico. Este artigo tem como objetivo realizar uma leitura visual dessas imagens, relacionando-as com o contexto do surrealismo francês em seu surgimento, e com a arte moderna e a literatura romântico-simbolista produzida na França desde o século XIX. Tratando-se de uma produção fotográfica na qual a anatomia fragmentada ganha destaque, no decorrer da discussão são apresentadas análises mais recentes sobre o trabalho de Boiffard, empreendidas por historiadores e teóricos da arte como Georges Didi-Huberman, Roland Barthes, Briony Fer e Eliane Robert Moraes, nos quais se discorre sobre a relação entre fotografia e fetichismo, expondo também sobre como a agressiva linguagem visual empregada por Boiffard, após sua aproximação de Georges Bataille, representaria uma ruptura com o imagético surrealista, mais idealizante, produzido pela vertente do grupo ligada a André Breton.

El pintor surrealista Roberto Matta comenzó su trayectoria artística después de estudiar arquitectura en Chile y trabajar con Le Corbusier en París en los años treinta, periodo en el cual realizó unas singulares ilustraciones residenciales. Este trabajo presenta una revisión e interpretación geométrica de estas imágenes para comprender sus características y posibilidades. Se revisan antecedentes de su realización, y se desarrolla un registro de elementos y modelación paramétrica tridimensional de las formas y organización espacial de las ilustraciones, interpretando su configuración y vinculación con aspectos arquitectónicos. Se elabora una restitución tridimensional basada en la interpretación perspectiva de los elementos, y una programación paramétrica de la geometría de los elementos y ambientes, que permite reconstituir vistas similares a las imágenes, como también generar nuevas vistas, recorridos y configuraciones. La restitución paramétrica de estas imágenes revela posibilidades formales que evidencian una definición espacial relacionada con un cuestionamiento emocional al diseño de las viviendas, expresando una alternativa temprana al desarrollo habitacional moderno.

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Este artículo enuncia la premisa del deseo emancipado y transgresor de Walerian Borowczyk, presente tanto en sus filmes de animación como en sus otras películas de índole más erótico, y con frecuencia analizadas aparte. En ambas modalidades predominan un imaginario católico que reprime los deseos más libertinos del espectador. Un discurso ideológico, sacrílego y sexual, en el que además los recuerdos —aunque duelan mucho—, se hacen presentes y no se pueden olvidar, evocando la memoria colectiva de Maurice Halbwachs (2004 [1968]). Por ejemplo, el Holocausto visto como un proceso de industrialización, evidente en la animación Les jeux des anges (1964), así como también la disolución familiar y vouyeurismo en Le théâtre de monsieur et madame Kabal (1962). Borowczyk, un autor brillante, inclasificable y revolucionario, destaca por su ansia de libertad, su oposición a los valores tradicionales y por la reivindicación del deseo sin límites.

Este artículo compara y contrasta la concepción que Octavio Paz y Luis Cernuda defendían del surrealismo en los años cincuenta del siglo xx; examina el interés en el poema en prosa surrealista compartido por ambos; coteja la visión del amor expresada en la poesía surrealista de ambos; y también señala ejemplos de la influencia mutua que caracterizó el diálogo entre los dos poetas en aquellos años.

La obra divulgativa sobre biología de Jean Painlevé (1902-1989), cineasta y científico relacionado con el surrealismo, cuenta con decenas de películas y escritos. La historiografía del cine ha abordado este corpus desde la unicidad y la vanguardia de sus propuestas. Este artículo propone una definición conceptual del estilo de Painlevé, dentro del concepto de documental de naturaleza, llamándolo “documental surrealista de naturaleza”, tendencia que no se dio como un hecho aislado, sino como un movimiento de científicos cineastas, producido entre 1915 y 1940. Definir el documental surrealista de naturaleza es una forma de dar nombre a una corriente que, en la época de las vanguardias, encontró la belleza en la biología y adoptó técnicas cinematográficas rigurosas para compaginar la abstracción con la divulgación científica, como lo demuestra una aproximación analítica al trabajo más didáctico de Painlevé.

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