Man, Russia is basically just a live-action Salvador Dali painting.

the what?! the Salvadore Dali limp? You say that as if there is such a thing! Search it! Search Salvadore Dali limp and you get this video... and nothing else.

Surrealism style was big in Japan I think. When Japan was at the height of its Imperial power, their ruling elites began collecting western art. And Western Art during the 1930s was Surrealism art, and Salvador Dali and all his wackiness.

So this odd formula of Being Fancy = western art = surrealism was established. I guess surrealism really made a huge impact on Japanese psyche that it never really went away. Perhaps the war-torn Japan of 1950s and 60s found solace in the dreamlike feel and disturbing images used in surrealist works. Now that I think about it, that sure describes what Japanese movies are like nowadays.

It also helped that Surrealism kept strong all the way up until the 1960s. So every time the Japanese checked on Western art, there was still Surrealist works to be found, so the odd formula stayed as well.

At least that's my theory.

What's with the stupid sound effects soundtrack? If it's a punchline I didn't get it. Also Salvador Dali's name gets stamped on this all the time as if he was behind the camera half of the time when actually his contribution wasn't all that much, from what I understand. He and the "other guy" Luis Buñuel talked about putting some of their bizarre dreams on film. And Dali played one of priests getting dragged along the floor, that's about it.

Check out Buñuel's "Viridiana" and "Los Olvidados". Film students should aspire to those, not this pre-Tarantino self-indulgent novelty.

>> ^shagen454:

That is an interesting piece of info I did not know about. I never really understood why they went with Lynch for Dune, either. Not that that was a bad idea, I know a lot of people complain about Lynch's adaptation but I liked it a lot. I bet Jodorowsky's version would have been absolutely insane and even less on point with the Dune novel. I can only imagine all of the shit Jodorowsky could shove into that.
wiki: "he planned to cast the surrealist artist Salvador Dali as the Emperor Shaddam Corrino IV, who requested a fee of $100,000 per hour. He also planned to cast Orson Welles as the Baron Vladimir Harkonnen, who only agreed when Jodorowsky offered to get his favourite gourmet chef to prepare his meals for him throughout the filming.[23] The book's protagonist, Paul Atreides, was to be played by Jodorowsky's own son, Brontis Jodorowsky. The music would be composed by Pink Floyd, Magma, Henry Cow and Karlheinz Stockhausen"
Damn, man has some fine taste in music. And yep, looks like it would have been insane.
>> ^poolcleaner:
>> EDIT: oh yeah, it's all there on IMDB but I won't spoil it for anyone.

That's because Dan O'Bannon recruited Giger for the alien creature design after working with him on Jodorowsky's failed attempt to make Dune.



Weird times. The days of hiring directors like Lynch to take over a science fiction epic are over. It didn't work and it's not what people want to see.

If Jodorowsky had made Dune, it would have given a handful of people hard ons and Rocky Horror would have fallen to the way side as the midnight movie standard. All in all, I think there'd be less trannys and Hedwig and the Angry Inch would never have been made.

Frank Herbert, Dan O'Bannon, Jodorowsky, Dali, Welles, and Pink Floyd all under one roof? The entire movie would have been one big water of life spice orgy. Pregnant women viewing the movie would've given birth to abominations possessed by Orson Welles.

That is an interesting piece of info I did not know about. I never really understood why they went with Lynch for Dune, either. Not that that was a bad idea, I know a lot of people complain about Lynch's adaptation but I liked it a lot. I bet Jodorowsky's version would have been absolutely insane and even less on point with the Dune novel. I can only imagine all of the shit Jodorowsky could shove into that.

wiki: "he planned to cast the surrealist artist Salvador Dali as the Emperor Shaddam Corrino IV, who requested a fee of $100,000 per hour. He also planned to cast Orson Welles as the Baron Vladimir Harkonnen, who only agreed when Jodorowsky offered to get his favourite gourmet chef to prepare his meals for him throughout the filming.[23] The book's protagonist, Paul Atreides, was to be played by Jodorowsky's own son, Brontis Jodorowsky. The music would be composed by Pink Floyd, Magma, Henry Cow and Karlheinz Stockhausen"

Damn, man has some fine taste in music. And yep, looks like it would have been insane.

>> ^poolcleaner:

>> EDIT: oh yeah, it's all there on IMDB but I won't spoil it for anyone.

That's because Dan O'Bannon recruited Giger for the alien creature design after working with him on Jodorowsky's failed attempt to make Dune.

Little kids are such natural trip-finders. It's funny.


Oh!!! Love love love that dusty zombie trip! I really wish I had a promote in my bag. Thank you for pointing me in the direction of it!

In reply to this comment by oritteropo:
Our library had a children's book of Salvador Dali's work, and I really couldn't go past it. The little ones liked the pictures within pictures, and the droopy clocks in "Persistence of memory".

Anyway, not why I dropped by... you might like this:

http://videosift.com/video/DUSTY-ZOMBIES-a-Creepy-Puppet-Project

Dark, horror, wtf, puppets... seems to check most boxes?

You have been awarded 1 Power Point for fixing the embed code for Dead Pool video Salvador Dali's Alka Seltzer Ad. Thank you for helping maintain VideoSift's reliability.

Dali was fascist scum.

http://www.counterpunch.org/navarro12062003.html

The Jackboot of Dada

Salvador Dali, Fascist

By VICENTE NAVARRO

The year 2004, the centenary of Dali's birth, has been proclaimed "the year of Dali" in many countries. Led by the Spanish establishment, with the King at the helm, there has been an international mobilization in the artistic community to pay homage to Dali. But this movement has been silent on a rather crucial item of Dali's biography: his active and belligerent support for Spain's fascist regime, one of the most repressive dictatorial regimes in Europe during the twentieth century.

For every political assassination carried out by Mussolini's fascist regime, there were 10,000 such assassinations by the Franco regime. More than 200,000 people were killed or died in concentration camps between 1939 (when Franco defeated the Spanish Republic, with the military assistance of Hitler and Mussolini) and 1945 (the end of World War II, an anti-fascist war, in Europe). And 30,000 people remain desaparecidos in Spain; no one knows where their bodies are. The Aznar government (Bush's strongest ally in continental Europe) has ignored the instructions of the U.N. Human Rights Agency to help families find the bodies of their loved ones. And the Spanish Supreme Court, appointed by the Aznar government, has even refused to change the legal status of those who, assassinated by the Franco regime because of their struggle for liberty and freedom, remain "criminals."

Now the Spanish establishment, with the assistance of the Catalan establishment, wants to mobilize international support for their painter, Dali, portraying him as a "rebel," an "anti-establishment figure" who stood up to the dominant forces of art. They compare Dali with Picasso. A minor literary figure in Catalonia, Baltasar Porcel (chairman of the Dali year commission), has even said that if Picasso, "who was a Stalinist" (Porcel's term), can receive international acclaim, then Dali, who admittedly supported fascism in Spain, should receive his own homage." Drawing this equivalency between Dali and Picasso is profoundly offensive to all those who remember Picasso's active support for the democratic forces of Spain and who regard his "Guernica" (painted at the request of the Spanish republican government) as an international symbol of the fight against fascism and the Franco regime.

Dali supported the fascist coup by Franco; he applauded the brutal repression by that regime, to the point of congratulating the dictator for his actions aimed "at clearing Spain of destructive forces" (Dali's words). He sent telegrams to Franco, praising him for signing death warrants for political prisoners. The brutality of Franco's regime lasted to his last day. The year he died, 1975, he signed the death sentences of four political prisoners. Dali sent Franco a telegram congratulating him. He had to leave his refuge in Port Lligat because the local people wanted to lynch him. He declared himself an admirer of the founder of the fascist party, Jose Antonio Primo de Rivera. He used fascist terminology and discourse, presenting himself as a devout servant of the Spanish Church and its teaching--which at that time was celebrating Queen Isabella for having the foresight to expel the Jews from Spain and which had explicitly referred to Hitler's program to exterminate the Jews as the best solution to the Jewish question. Fully aware of the fate of those who were persecuted by Franco's Gestapo, Dali denounced Bunuel and many others, causing them enormous pain and suffering.

None of these events are recorded in the official Dali biography and few people outside Spain know of them. It is difficult to find a more despicable person than Dali. He never changed his opinions. Only when the dictatorship was ending, collapsing under the weight of its enormous corruption, did he become an ardent defender of the monarchy. And when things did not come out in this way, he died.

Dali also visited the U.S. frequently. He referred to Cardinal Spellman as one of the greatest Americans. And while in the U.S., he named names to the FBI of all the friends he had betrayed. In 1942, he used all his influence to have Buñuel fired from the Museum of Modern Art in New York, where Buñuel worked after having to leave Spain following Franco's victory. Dali denounced Buñuel as a communist and an atheist, and it seems that under pressure from the Archbishop of New York, Buñuel had to leave for Mexico, where he remained for most of his life. In his frequent visits to New York, Dali made a point of praying in St. Patrick's Cathedral for the health of Franco, announcing at many press conferences his unconditional loyalty to Franco's regime.

Quite a record, yet mostly unknown or ignored by his many fans in the art world.

Vicente Navarro is the author of The Political Economy of Social Inequalities: Consequences for Health and Quality of Life and Dangerous to Your Health. He teaches at Johns Hopkins University. He can be reached at navarro@counterpunch.org.

This video has been seconded as a duplicate; transferring votes to the original video and killing this dupe - dupeof seconded with isdupe by ant.

>> ^rasch187:

dupeof=http://videosift.com/video/Salvador-Dali-appears-on-Whats-My-Line-1950


I knew it! Good job. *isdupe

Your video, Salvador Dali on What's My Line?, has made it into the Top 15 New Videos listing. Congratulations on your achievement. For your contribution you have been awarded 1 Power Point.

This achievement has earned you your "Pop Star" Level 1 Badge!

*dupeof=http://videosift.com/video/Salvador-Dali-appears-on-Whats-My-Line-1950

This video has been nominated as a duplicate of this video by rasch187. If this nomination is seconded with *isdupe, the video will be killed and its votes transferred to the original.

Dali was fascist scum. http://www.counterpunch.org/navarro12062003.html

The Jackboot of Dada

Salvador Dali, Fascist

By VICENTE NAVARRO

The year 2004, the centenary of Dali's birth, has been proclaimed "the year of Dali" in many countries. Led by the Spanish establishment, with the King at the helm, there has been an international mobilization in the artistic community to pay homage to Dali. But this movement has been silent on a rather crucial item of Dali's biography: his active and belligerent support for Spain's fascist regime, one of the most repressive dictatorial regimes in Europe during the twentieth century.

For every political assassination carried out by Mussolini's fascist regime, there were 10,000 such assassinations by the Franco regime. More than 200,000 people were killed or died in concentration camps between 1939 (when Franco defeated the Spanish Republic, with the military assistance of Hitler and Mussolini) and 1945 (the end of World War II, an anti-fascist war, in Europe). And 30,000 people remain desaparecidos in Spain; no one knows where their bodies are. The Aznar government (Bush's strongest ally in continental Europe) has ignored the instructions of the U.N. Human Rights Agency to help families find the bodies of their loved ones. And the Spanish Supreme Court, appointed by the Aznar government, has even refused to change the legal status of those who, assassinated by the Franco regime because of their struggle for liberty and freedom, remain "criminals."

Now the Spanish establishment, with the assistance of the Catalan establishment, wants to mobilize international support for their painter, Dali, portraying him as a "rebel," an "anti-establishment figure" who stood up to the dominant forces of art. They compare Dali with Picasso. A minor literary figure in Catalonia, Baltasar Porcel (chairman of the Dali year commission), has even said that if Picasso, "who was a Stalinist" (Porcel's term), can receive international acclaim, then Dali, who admittedly supported fascism in Spain, should receive his own homage." Drawing this equivalency between Dali and Picasso is profoundly offensive to all those who remember Picasso's active support for the democratic forces of Spain and who regard his "Guernica" (painted at the request of the Spanish republican government) as an international symbol of the fight against fascism and the Franco regime.

Dali supported the fascist coup by Franco; he applauded the brutal repression by that regime, to the point of congratulating the dictator for his actions aimed "at clearing Spain of destructive forces" (Dali's words). He sent telegrams to Franco, praising him for signing death warrants for political prisoners. The brutality of Franco's regime lasted to his last day. The year he died, 1975, he signed the death sentences of four political prisoners. Dali sent Franco a telegram congratulating him. He had to leave his refuge in Port Lligat because the local people wanted to lynch him. He declared himself an admirer of the founder of the fascist party, Jose Antonio Primo de Rivera. He used fascist terminology and discourse, presenting himself as a devout servant of the Spanish Church and its teaching--which at that time was celebrating Queen Isabella for having the foresight to expel the Jews from Spain and which had explicitly referred to Hitler's program to exterminate the Jews as the best solution to the Jewish question. Fully aware of the fate of those who were persecuted by Franco's Gestapo, Dali denounced Bunuel and many others, causing them enormous pain and suffering.

None of these events are recorded in the official Dali biography and few people outside Spain know of them. It is difficult to find a more despicable person than Dali. He never changed his opinions. Only when the dictatorship was ending, collapsing under the weight of its enormous corruption, did he become an ardent defender of the monarchy. And when things did not come out in this way, he died.

Dali also visited the U.S. frequently. He referred to Cardinal Spellman as one of the greatest Americans. And while in the U.S., he named names to the FBI of all the friends he had betrayed. In 1942, he used all his influence to have Buñuel fired from the Museum of Modern Art in New York, where Buñuel worked after having to leave Spain following Franco's victory. Dali denounced Buñuel as a communist and an atheist, and it seems that under pressure from the Archbishop of New York, Buñuel had to leave for Mexico, where he remained for most of his life. In his frequent visits to New York, Dali made a point of praying in St. Patrick's Cathedral for the health of Franco, announcing at many press conferences his unconditional loyalty to Franco's regime.

Quite a record, yet mostly unknown or ignored by his many fans in the art world.

Vicente Navarro is the author of The Political Economy of Social Inequalities: Consequences for Health and Quality of Life and Dangerous to Your Health. He teaches at Johns Hopkins University. He can be reached at navarro@counterpunch.org.