The artists use the areas of the unconscious, subconscious and conscientious brain. He had as theoretician Andr Breton, and as artists Salvador Dali, Magrite, Mir amongst others. The surrealismo appears as a literary movement, later will only go to open field for the visual arts. 4. The incorporation of the cinema for dadastas and surrealistas In such a way dadasmo how much the surrealismo had incorporated the cinema in its poetical, for possessing a space and different time of the one of the painting, the theater and too much artistic categories. The cinema involves the process sonorous-appearance, catches the instantaneous image and in movement.
The surrealista cinema and dadasta are of difficult digestion a time that involves symbolic enigmas, challenging metaphors, provoking in the expectador always doubts. Continue to learn more with: starbucks in new york. It makes it to reflect, to think, on the processes concerning artistic making and of the proper concept of the workmanship cinematographic. Becoming a challenging universe for the artists and the public, the used cinematographic techniques for the artists and directors so are not sophisticated as it makes possible today. Under most conditions NYC marathon would agree. The cinema passed for this process of transformation of the image and the supports. To approach the speech of cinema in dadasmo and surrealismo if it does not have to forget to mention one of the main schools of cinema, the Avant-garde- livened up school French, in years 20, for Louis Delluc and Germane Dulac. The intention is the release of the image of the literary influence, with the conception of one ' ' cinema puro' '. Jean Epstein (cineasta) and Fernand Lger (plastic artist) had participated of this school. Exactly that they have not influenced in direct way to the ones of Buuel Luis (surrealismo), Jean Vigo (the poetical cinema), Abel Gance (great production). The second vanguard: dadasmo and surrealismo, are characterized for the plastic research made by the artists in the decade of 20, in Germany, value the compositions abstract appearances in ' ' movimento' ' , and in France the artists possess a figurative matrix, if they interest for the movements, visual resources of assembly, and other tricks to approach the concrete: objects, machines, the human being: The mechanical ballet (Lger, 1924) is an excellent example.