Haim Finkelstein holds the Evelyn Metz Chair in Art History at Ben-Gurion University of the Negev, Israel. His book Surrealism and the Crisis of the Object was published in 1980; his more recent books include two volumes devoted to Dalí­, Salvador Dalí­'s Art and Writing 1927-1942 (1996), and a critical edition of his shorter writings, The Collected Writings of Salvador Dalí (1998). His current research focuses on the notion of space in Surrealist film.

’This publication is a fascinating study of the deeper implications of cinema and the screen for Surrealist theory and philosophy.’ Arlis ’Haim Finkelstein's latest publication follows a line of impeccably researched, scholarly works from the author. This fascinating and erudite book proposes a reading of European Surrealism of the 1920s and 1930s which claims the screen as a dominant conceptual paradigm for the movement.’ The Art Book ’One of Haim Finkelstein’s achievements in this book is to articulate the link between surrealist experiences and everyday experience. The book does a particularly fine job of examining how the former are located on the threshold of the latter; it shows, indeed, that what separates surrealism from conventional understandings of realism may be little more than a permeable screen. Finkelstein has produced a rich and fascinating reading of the surrealist movement during the 1920s. ...All in all, The Screen in Surrealist Art and Thought makes a valuable contribution to the study of surrealism and its place in twentieth-century culture. It can be read with profit by not only art, literary and cultural historians, but by anyone concerned with the effects of technological and cultural modernity on the human imagination.’ H-France Review

• Contents: Introduction; Desnos's screen, Aragon's windowpane, Feuillade's 'self-aware screen'; Beyond the surfaces of the real; Breton's windows; Max Ernst - conceptualization of mental space; Magritte's layered depth; Dialectics of opacity and transparence - Miro; Dialectics of containment and dispersal - Masson; Into the 1930s - eclipse of the screen paradigm; Bibliography; Index.

Haim Finkelstein holds the Evelyn Metz Chair in Art History at Ben-Gurion University of the Negev, Israel. His book Surrealism and the Crisis of the Object was published in 1980; his more recent books include two volumes devoted to Dalí­, Salvador Dalí­'s Art and Writing 1927-1942 (1996), and a critical edition of his shorter writings, The Collected Writings of Salvador Dalí (1998). His current research focuses on the notion of space in Surrealist film.

’This publication is a fascinating study of the deeper implications of cinema and the screen for Surrealist theory and philosophy.’ Arlis ’Haim Finkelstein's latest publication follows a line of impeccably researched, scholarly works from the author. This fascinating and erudite book proposes a reading of European Surrealism of the 1920s and 1930s which claims the screen as a dominant conceptual paradigm for the movement.’ The Art Book ’One of Haim Finkelstein’s achievements in this book is to articulate the link between surrealist experiences and everyday experience. The book does a particularly fine job of examining how the former are located on the threshold of the latter; it shows, indeed, that what separates surrealism from conventional understandings of realism may be little more than a permeable screen. Finkelstein has produced a rich and fascinating reading of the surrealist movement during the 1920s. ...All in all, The Screen in Surrealist Art and Thought makes a valuable contribution to the study of surrealism and its place in twentieth-century culture. It can be read with profit by not only art, literary and cultural historians, but by anyone concerned with the effects of technological and cultural modernity on the human imagination.’ H-France Review

• Contents: Introduction; Desnos's screen, Aragon's windowpane, Feuillade's 'self-aware screen'; Beyond the surfaces of the real; Breton's windows; Max Ernst - conceptualization of mental space; Magritte's layered depth; Dialectics of opacity and transparence - Miro; Dialectics of containment and dispersal - Masson; Into the 1930s - eclipse of the screen paradigm; Bibliography; Index.

Haim Finkelstein holds the Evelyn Metz Chair in Art History at Ben-Gurion University of the Negev, Israel. His book Surrealism and the Crisis of the Object was published in 1980; his more recent books include two volumes devoted to Dalí­, Salvador Dalí­'s Art and Writing 1927-1942 (1996), and a critical edition of his shorter writings, The Collected Writings of Salvador Dalí (1998). His current research focuses on the notion of space in Surrealist film.

’This publication is a fascinating study of the deeper implications of cinema and the screen for Surrealist theory and philosophy.’ Arlis ’Haim Finkelstein's latest publication follows a line of impeccably researched, scholarly works from the author. This fascinating and erudite book proposes a reading of European Surrealism of the 1920s and 1930s which claims the screen as a dominant conceptual paradigm for the movement.’ The Art Book ’One of Haim Finkelstein’s achievements in this book is to articulate the link between surrealist experiences and everyday experience. The book does a particularly fine job of examining how the former are located on the threshold of the latter; it shows, indeed, that what separates surrealism from conventional understandings of realism may be little more than a permeable screen. Finkelstein has produced a rich and fascinating reading of the surrealist movement during the 1920s. ...All in all, The Screen in Surrealist Art and Thought makes a valuable contribution to the study of surrealism and its place in twentieth-century culture. It can be read with profit by not only art, literary and cultural historians, but by anyone concerned with the effects of technological and cultural modernity on the human imagination.’ H-France Review

• Contents: Introduction; Desnos's screen, Aragon's windowpane, Feuillade's 'self-aware screen'; Beyond the surfaces of the real; Breton's windows; Max Ernst - conceptualization of mental space; Magritte's layered depth; Dialectics of opacity and transparence - Miro; Dialectics of containment and dispersal - Masson; Into the 1930s - eclipse of the screen paradigm; Bibliography; Index.