El Centre d’Estudis Dalinians té com a objectiu recopilar i catalogar els documents audiovisuals que guarden una relació més o menys directa amb Salvador Dalí. El fons està format per més de 900 documents i recull les pel·lícules on l’artista participa activament, ja sigui en la concepció del film, la direcció, el guió o el disseny de l’escenografia. Compta també amb un vast recull d’imatges d’arxiu que inclouen anuncis, entrevistes i reportatges molt diversos. Paral·lelament, el centre recopila i cataloga una extensa col·lecció de documentals i programes de televisió dedicats a l’artista, centrats especialment en la seva biografia, trajectòria artística, passions i entorn geogràfic i humà més propers.
Després de visionar i catalogar els documents s’inicia la fase d’investigació, per tal de contextualitzar i ampliar els coneixements sobre el contingut de les filmacions. La rellevància d’aquests materials és clau, no només per la informació de primera mà que proporcionen, sinó també perquè permeten profunditzar en la faceta més mediàtica de Salvador Dalí, considerat un dels primers artistes en ésser conscient del poder de la imatge. La seva presència en aquest medi és, en certa manera, inherent a la creació daliniana i esdevé fonamental per entendre el personatge i l’obra de Salvador Dalí.
D’altra banda, l’arxiu de documents sonors compta amb un fons de més de 200 documents de diversos formats, que es conserven entre la Torre Galatea, la Casa-Museu de Portlligat i el Castell Gala Dalí de Púbol. Aquest material ens permet apropar-nos als interessos musicals de Dalí i de Gala, així com fer un seguiment de la participació de Dalí en alguns projectes i constatar com la figura i l’obra del mestre serveixen de font d’inspiració per a diverses caràtules i composicions musicals.
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Foto de rodatge de «l’Âge d’or» de Luis Buñuel
1930
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Original per a cartell «Babaouo c’est un film surrealiste»
Dalí i Domènech, Salvador
1932
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Salvador Dalí davant d’un dels decorats per a «Recorda»
1945
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Salvador Dalí pintant projecte per a «Destino» de Walt Disney
1946
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Projecte per a «Destino»
Dalí i Domènech, Salvador
c. 1946
Walt Disney Animation Research Library, Walt Disney Animation Studios (Burbank, CA)
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[href] => /coeli/FGSD/Actor/9d49675b-4fcc-ea9a-7deb-167a146a59c9 [label] => Fundació Gala-Salvador Dalí [$public] => ) ) ) ) [collection] => Array ( [href] => /coeli/FGSD/Collection/4b40a768-be1c-80b7-61a3-33039bbae073 [label] => Fons FGSD [$public] => [hierarchy] => Array ( [0] => Array ( [href] => /coeli/FGSD/Collection/4b40a768-be1c-80b7-61a3-33039bbae073 [label] => Fons FGSD [$public] => ) ) ) ) [materialsTechsDisplay] => [content] => Array ( [description] => Aquesta és una de les pel·lícules surrealistes més famoses de la història del cinema. Realitzada l'any 29 per Luis Buñuel, amb guió d'ell mateix amb el seu amic Salvador Dalí, recrea les visions, obsesions, somnis del surrealisme, moviment que, en aquests anys, era sinònim d'avantguarda. La producció va córrer a càrrec del propi Buñuel, que financià el film amb l'aportació monetària de la seva mare. El film es distribuirà més tard en cercles privats i dins el moviment surrealista, aportant prestigi al seu autor, cosa que li facilitarà el camí a l'hora de rodar el següent film, l'"Âge d'Or". En tota la pel·lícula es pot veure la importància que tenien per Buñuel els somnis en la seva vida quotidiana i en el seu cinema. Tota la cinta pot descriure's com una succesió de somnis cadenats. La seva obertura ha esdevingut una de les seqüències més recurrents de tot el cinema: amb una navalla d'afaitar, un home secciona l'ull d'una jove alhora que un núvol travessa la lluna pel seu ben mig. A partír d'ací, es donen lloc un seguit d'imatges i situacions oníriques, inconnexes i incoherents, fruit d'un treball d'automatisme de caràcter surrealista. Aquesta pel·lícula és una col·laboració íntima entre Buñuel i Dalí, un intercanvi d'idees i d'imatges molts concretes, que cadascú d'ells havia d'aprovar, corregir o suggerir a l'altre. Existeix una versió sonora de 1960, que és la més projectada i estesa. La música que s'escolta, ja que no hi ha diàlegs, és de Wagner i un tango. "Un Chien andalou" és una de les pel·lícules fonamentals del surrealisme i del cinema del període d'avantguardes, resultat d'una íntima col·laboració entre Luis Buñuel i Salvador Dalí. Ambdós creadors treballen, durant el mes de gener de 1929, en la concepció del guió que titulen provisionalment "Dangereux de se pencher au dedans". El rodatge es duu a terme a París al llarg de la primera quinzena del mes d'abril del mateix any. En paraules de Dalí, "Un Chien andalou", neix d'una col·laboració fraternal, d'una compenetració total entre ell i Buñuel. Segons el cineasta, el curtmetratge és la confluència entre dos somnis, el de Dalí - una mà plena de formigues - i el seu - un ganivet que talla un ull. El guió s'escriu en menys d'una setmana, seguint una senzilla norma adoptada de mutu acord: no acceptar cap imatge o idea susceptible de dur a l'espectador a una explicació racional, psicològica o cultural. El resultat és un encadenament de seqüències oníriques que transgredeixen els esquemes narratius canònics. A cadascuna de les seqüències es recorre a un ús del temps no lineal, de forma que l'espectador és incapaç d'arribar a comprendre la trama sota un punt de vista convencional. La cèlebre escena on el jove talla l'ull de la dona amb una navalla, al mateix temps que un núvol molt fi travessa la circumferència de la lluna, es pot interpretar com una invitació a una nova manera de mirar el cine. ) [title] => Un Chien Andalou [$metadata] => Array ( [updatedAt] => 2026-05-20T10:11:51.718152795Z [self] => Array ( [href] => /coeli/FGSD/HeritageObject/f202a8c1-42ec-e411-9471-00155d647f0b ) [slug] => 38120 [version] => 52 [createdAt] => 2024-12-13T20:36:17.754Z [idInSource] => f202a8c1-42ec-e411-9471-00155d647f0b [publishedAt] => 2025-06-25T07:56:35.808400Z [type] => HeritageObject [slugs] => Array ( [0] => 38120 [1] => 47988--documents-1929--aquest-dvd-ha-estat-distribuit-el-2004 ) ) [anyRelatedObjects] => [label] => FGSD-D-038120 - Un Chien Andalou, Luis Buñuel, Salvador Dalí, Luis Buñuel, Salvador Dalí, 1929|Aquest DVD ha estat distribuit el 2004 [departmentOrSection] => Array ( [href] => /coeli/FGSD/DepartmentOrSection/DOCUMENT [label] => Arxiu històric [$public] => [hierarchy] => Array ( [0] => Array ( [href] => /coeli/FGSD/DepartmentOrSection/DOCUMENT [label] => Arxiu històric [$public] => ) ) ) [objectStatus] => Array ( [href] => /coeli/FGSD/SKOSConcept/b29cb045-88e5-b032-d499-e9dcaf80ecfc [label] => Complet [$public] => [hierarchy] => Array ( [0] => Array ( [href] => /coeli/FGSD/SKOSConcept/b29cb045-88e5-b032-d499-e9dcaf80ecfc [label] => Complet [$public] => ) ) ) [$slug] => 38120 [objectNumber] => FGSD-D-038120 [creditLine] => [appellations] => Array ( [0] => Array ( [display] => Títol: Un Chien Andalou [type] => Array ( [href] => /coeli/FGSD/SKOSConcept/APPELLATION_TYPE_TITLE [label] => Títol [$public] => 1 [hierarchy] => Array ( [0] => Array ( [href] => /coeli/FGSD/SKOSConcept/APPELLATION_TYPE_TITLE [label] => Títol [$public] => 1 ) ) ) [text] => Un Chien Andalou [translation] => - ) ) [portraitMedia] => Array ( [fileName] => 0635.JPG [medium] => https://d1i5r06pd82mff.cloudfront.net/public/DigitalAsset/41817e01-76d8-7944-dc2e-1f0614aae76b/3589f9b60ecfa9b34b6370f45bac85c7/full/medium/0/default.jpg [mediaMetadata] => Array ( [fileExtension] => jpg [height] => 1503 [checksum] => b2c91118082c2116e75b58926edb1b53 [fileSize] => 365682 [checksumAlgorithm] => MD5 [width] => 2107 [colorSpace] => YUV ) [mimeType] => image/jpeg [small] => https://d1i5r06pd82mff.cloudfront.net/public/DigitalAsset/41817e01-76d8-7944-dc2e-1f0614aae76b/3589f9b60ecfa9b34b6370f45bac85c7/full/small/0/default.jpg [original] => https://d1i5r06pd82mff.cloudfront.net/public/DigitalAsset/41817e01-76d8-7944-dc2e-1f0614aae76b/3589f9b60ecfa9b34b6370f45bac85c7/full/original/0/default.jpg [large] => https://d1i5r06pd82mff.cloudfront.net/public/DigitalAsset/41817e01-76d8-7944-dc2e-1f0614aae76b/3589f9b60ecfa9b34b6370f45bac85c7/full/large/0/default.jpg ) ) )
Un Chien Andalou
1929|Aquest DVD ha estat distribuit el 2004
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Rodada a Portlligat, és el mateix artista que captura l'espectador i l'involucra en el viatge del seu procés creatiu. El director és Jean Christophe Averty i la versió americana està narrada per Orson Welles. Dalí és l'actor principal d'aquesta pel·lícula i també es pot descobrir el món que l'envolta. Una col·laboració entre Averty i Robert Descharnes que en el 1966 es troben a la casa de Dalí a Portlligat. Averty estarà a Portlligat del 6 al 9 de juny per preparar-ho tot i després el llargmetratge va ser rodat des de l'l 1 de juliol fins el 2 d'agost de 1966. El 1967 aquesta pel·lícula serà transmesa al cine i a la televisió . En origen, aquesta pel·lícula va ser produïda per ser vista pel públic francès. A Estats Units serà prohibida la seva comercialització i per aquesta raó, la versió anglesa és més curta que la francesa, ja que han estat tallades algunes parts considerades violentes. És un documental biogràfic molt particular perquè Dalí és l'actor principal d'aquesta pel·lícula que es desenvolupa amb la narració de seva vida i de la seva activitat artística a través de les paraules i de les performances del mateix pintor a la seva casa. És un vídeo molt experimental i innovador. A més, el director Averty va ser uns dels pioners en utilitzar efectes especials en la televisió. La música amb ritme i la presència de disseny de producció superrealistes, a través de la creació de llocs fantàstics, són elements fonamentals de la pel·lícula. La primera part de la pel·lícula és molt particular ja que apareix un primer pla de Dalí que s'estira els bigotis i després toca un piano en el jardí (records de seva infància amb la família Pitxot) en el qual estàn inserits caps de gats. Quan Dalí toca les tecles els gats miolen en sons diferents. Així comença la biografia amb la veu del narrador i després amb la de Dalí que ens introdueix en el seu art amb fotografies d'arxiu en blanc i negre, obres de Dalí i sobretot performances on actua sol i amb l'ajuda d'altres nois i noies. Dalí diu que si Averty, que és el més gran realitzador de televisió del món, ha vingut a filmar, vol dir que la follia de Gala i Salvador Dalí havien triomfat en el món. Ell descriu la seva joventut, la seva família que va decidir expulsar Gala i a partir d'aquell moment Lídia, que vivia a Portlligat, els va acollir en una caseta de pescadors. Descriu la sala de l'ós, que abans era la seva casa i ara és només una petita entrada amb un ós decoratiu. Després parla del trauma de la mort i del trauma del naixement de la vida intrauterina a la realitat, de la encarnació vivent de Pòl·lux i Helena (Dalí i Gala), dos germans immortals, de dos motors més violents que fan funcionar el ferment artístic superior de Dalí (l'instint sexual i l'angoixa de la mort). Després hi ha una sardana organitzada per ell a Portlligat i algunes performances amb objectes superrealistes de funcionament simbòlic (caduceu vivent amb dos serps vivents, la Venus de Milo), imatges múltiples del paisatge que ell pinta en els seus quadres, la biblioteca tova, l'armari de Gala que conté tots els escrits de Dalí. Al final hi ha una performance d'action painting. ) [title] => Autoportrait mou de Salvador Dalí [$metadata] => Array ( [updatedAt] => 2026-05-20T10:15:44.924618782Z [self] => Array ( [href] => /coeli/FGSD/HeritageObject/e303a8c1-42ec-e411-9471-00155d647f0b ) [slug] => 38361 [version] => 55 [createdAt] => 2024-12-13T20:37:05.896Z [idInSource] => e303a8c1-42ec-e411-9471-00155d647f0b [publishedAt] => 2025-06-25T07:58:05.131634Z [type] => HeritageObject [slugs] => Array ( [0] => 38361 [1] => 48255--documents-1966 ) ) [anyRelatedObjects] => [label] => FGSD-D-038361 - Autoportrait mou de Salvador Dalí, Averty, Jean Christophe, RM Productions, Télévision Francaise, Henry R. 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Autoportrait mou de Salvador Dalí
1966
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