In Figures of Desire, Williams examines the extension of surrealist theory to film. Choosing to stray from the traditional assertion that there is an intrinsic surrealist connection between dreams and film, Williams instead embraces various Freudian tenants in order to guide the discussion on surrealist film. The first accepted tenant is Lacan’s idea that the formation of the self is strongly linked to the formation of a bond with an image. It is surrealist film’s unique ability to provoke this identification that differentiates it from other film genres. Another idea that Williams embraces is that “surrealist film focuses on the process of identification rather than reproducing its effect in the spectator.” Here, Williams argues that surrealist film holds a unique position in that it both forces the viewer to identify with, and challenge the validity of the image. Williams goes on to analyze Un Chien andalou and L’Age d’or within the context of these ideas. Ultimately Williams comes to the conclusion that in many surrealist films metaphoric desires rather than plot or characters become the true protagonists of each film.

While Spellbound is not a film made directly by a surrealist director, although Dali was a contributor, the film exhibits some of the same attributes that Williams argues characterizes surrealist film. One of the main similarities is the rejection of plot crises in favor of a preoccupation with a larger desire. In the case of Spellbound, the larger issue is the desire to understand how the mind works. While the audience is intrigued by the plot twists and exciting adventures that Dr. Peterson and John Ballantine encounter during our time with them, the entire film is set up and continually comes back to each characters desire to open the doors of his or her mind and understand the greater mysteries that surround them.

Bradshaw, Peter and Andrew Gilchrist. "How to make a surrealist film: Grab a giant seashell, send for a rotting donkey, and don't forget to press your dinner jacket...Peter Bradshaw and Andrew Gilchrist offer 10 tips for any budding Bunuels." The Guardian (London), 5 March 2007,16. Lexis-Nexis Academic Universe, 9 April 2008. .

Bradshaw and Gilchrist offer “budding Bunuels” ten tips for perfecting surrealist films. Their article might approach the issue of surrealist filmmaking from a humorous perspective, but there are several legitimate points within the article. The authors argue that filmmakers should dress their characters in formalwear, repeat scenes, change scenes abruptly, let a seashell star in the film, slice open an eyeball, and sell tickets made of sandpaper to the premier of the film, just to name a few. While, the authors openly mock the ridiculousness of many surrealist traditions, each one of their tips is grounded in the past action of a surrealist star from Bunuel to Dali.

In addition to hiring a seashell and appearing in full scuba gear for your film’s premier, the authors argue that each surrealist film should include a dream sequence. They specifically single out the dream sequence in Spellbound, which was created by Dali. While the article, by mentioning the film by name seems to imply its superiority, or at least superior notoriety, when compared to other surrealist films, the inclusion of Spellbound in this top ten list of surrealist tips emphasizes the lack of opportunity for originality that plagued Dali and other surrealist filmmakers who worked within the Hollywood system. In Spellbound, Dali was used for his name recognition rather than his vision as a surrealist thinker. Instead of allowing Dali artistic freedom to create the alternate world that he had imagined, the producers of Spellbound changed Dali’s vision and subsequently demeaned his contribution to the film. Instead of allowing him artistic control, Spellbound used Dali’s name as a vehicle for publicity and conformed his vision to the restrictions of a surrealist greatest hits list.