The arts were created from an appeal to freedom. There can be no
general aesthetic that defines how that freedom must express
itself. Movies offer a seductive example. Of all the major arts,
cinema is the only one that was invented during the lifetime of
some who are now living. From this perspective, Earle argues that
filmmakers were far more inventive in their early days than now,
when commercial film has settled into a realist routine with
occasional and timid forays into the personal and imaginative.
Earle suggests that unsympathetic readers should look again at the
possible sources of film poetry, sources that have almost dried up
in the flood of boredom experienced nightly in theaters throughout
the world. Surrealism in Film is largely a manifesto against
realism; it ends in a clash of sensibilities. The book encourages
new exploration of absolute poetry. The intention of these essays
is to destroy the absolute authority of the realist sensibility.
Within that sensibility is everything thought necessary to "sense":
narrative plot, recognizable and nameable passions, continuity and
integration within the film, a gist or moral for the whole affair,
social commentary, and psychoanalytic depth-meanings. Earle argues
for a self-critique that should be performed if movies are not to
remain encapsulated within its own delusions.
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