Abstract
This chapter proposes a comparison of the way in which the Situationist International and the Drakabygget Situationist movement interpreted and used surrealism, specifically surrealist film. I will analyse how the two situationist groups related to surrealist film practice theoretically and practically. Famously, Guy Debord, the leader of the Situationist International, included a reference to Luis Buñuel’s Un chien andalou in the beginning of his 1952 film Hurlements en faveur de Sade, but he also shortly afterwards used the surrealist admiration of Charles Chaplin as a way of distancing himself from both the lettrist group around Isidore Isou and the surrealist group headed by Breton. Meanwhile, Jørgen Nash and Jens Jørgen Thorsen, the two leading figures in the Scandinavian Drakabygget movement, included surrealist films by Wilhelm Freddie in several of the film festivals they staged in 1964–65 and continued to pay homage to surrealist artists like Freddie throughout the 1960’s.
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