how the fragility of thought" in view of these declarations, surrealism can indeed be seen as a revolution.
             At the end of this declaration was something of a warning made to the western world, "We say in particular to the Western world: surrealism exists. And what is this new ism that is fastened to us? Surrealism is not a poetic form. It is a cry of the mind turning back on itself, and it is determined to break apart its fetters, even if it must be by material hammers!" With these in mind it is difficult to see how surrealism could in fact be translated to the medium of film. Indeed, audiences and critics alike largely hated surrealist film, with mainly only those familiar with surrealist art and literature truly appreciating the new genre.
             However, early, key surrealist films such as Un Chien Andalou and L'age D'Or "became classics of the 1920's (even though the latter was made in 1930) when histories of cinema began to be written the following decade and have largely remained so ever since". In terms of narrative, surrealist film is unlike any other genre, except perhaps the avante-garde, which asked it's audience to "rethink fundamentally our preconceptions about cinema" which is done much more aggressively in surrealist films such as Un Chien Andalou. The narrative of a surrealist film was meant to be more like that of a dream. A prime example of this can be taken from Un Chien Andalou. This exact sequence begins after the stranger in a suit and hat enters the cyclist's room, pulls off the cyclist's drag garb and box and throws them out the window, then orders him to stand facing the wall with his arms up as if on a crucifix: An intertitle reads, "Seize ans avant (Sixteen years ago)," and as the stranger turns to leave, we find that he is a spitting image of the ...