Abstract
Nemesio Sobrevila's 1929 film El sexto sentido is a metacinematic and generically hybrid work shaped by competing ideas of the social meanings and aesthetic possibilities of film in circulation in the 1920s, in particular those of Luis Buñuel and Salvador Dalí. Unlike Vertov and Ruttman, whose 1920s films Sobrevila parodies, all three of the Spanish filmmakers considered popular, not 'pure' or avant-garde cinema, to be the site of the most meaningful experiments with new cinematic technologies and poetics.
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