Abstract
This article explores through photography the affinities and antagonisms between the Situationist International and the Surrealist movement. It begins with an outline of the Situationists' preliminary engagement with the legacy of Surrealism. Next it shows how this engagement took on a photographic dimension in the theoretical journal of the Situationists as part of a strategy to create a distinctive group identity, not to be confused with the more established Surrealist movement. The conclusion compares Situationist and Surrealist uses of photography.
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