A Holy Mountain Emerges Between Surrealism Esoteric Art

‘What is Esoteric Art?’
Upon choosing to write on the subject, and indeed attempt to answer the question of
what is esoteric art, I was immediately drawn to the filmmaker Alejandro Jodorowsky. One
film of his in particular sprung to mind. The artist’s 1973 release of The Holy Mountain
remains relatively unknown, but presents a bizarrely fascinating and frightening experience
upon an encounter with it today. The film is an avalanche of both beautiful and profane
imagery that takes to task the subjects of religion, politics and sexuality, and for particular
relevance to us here, includes within its narrative structure themes of initiation, alchemy,
astrology and the tarot. Such memorable symbols and images made the work an obvious
candidate for discussion, yet it is also of interest that alongside such content, Jodorowsky’s
film pays stylistic homage to perhaps an even greater influence, that of the artistic
philosophy and movement of Surrealism. In The Holy Mountain we see what seems to be
‘esoteric’ themes and concerns combining effortlessly with Surrealist method and style, to
create an almost symbiotic language of enchantment. Surrealism seems to give breathe to
the ‘esoteric’ in Jodorowsky’s film and point to some important avenues of enquiry.
In this essay I will attempt to introduce Surrealism’s relationship with the elements of
Western European traditions of thought that have come to be defined as ‘esoteric’. The
historical and social impact of this union draws into focus the direct concerns of the ‘esoteric’
within art and its perceived ability to impact on society as well as the individual. A short
analysis of Alejandro Jodorowsky’s The Holy Mountain then aims at identifying further key
features of ‘esoteric’ art, as well as add further answers to some important questions. Can
‘esoteric’ art be defined by a simple re-presentation of ‘esoteric’ symbols and images? Are
there any pre-requisites that exist for creators as well as viewers of ‘esoteric’ art? This analysis
aims to answer such questions, but firstly a clarification of the term ‘esoteric’, and its place
within western religious thought, becomes necessary in order for us to refine our definition of
what is esoteric art.

ADAM MALONE MODULE TWO ESSAY COHORT 2
ETERNALLY INNER-TURNING…
In recent years the study and historical appreciation of esoteric subjects has enjoyed a
revival. Much like The Occult Revival at the turn of the 19th Century, itself a major influence
on the first Surrealists of 1920’s Paris, we are witnessing a renewed interest in magic, alchemy
and other hermetic fields of research, as legitimate alternatives to rational western thought.
In order to create the modern world of machinery and Science there appeared to be a
systematic abandonment of anything that did not fit a positivist paradigm. However, there is
now an increasing appreciation that it was in fact “… hermetic themes of human spiritual
sovereignty [that] had powered western man to achieve mastery of knowledge over
nature.” (Goodrich-Clarke, 2008, p.5) The emerging idea that our technological advances
owe a debt of appreciation to such previously marginalised modes of European thought, can
also be viewed as the result of a modern ecological concern - that the machinery of
advancement, and the power it placed in our hands, has in fact served to impoverish not
only our outer lives, but our inner lives as well. As Versluis suggests, the result of our over
reliance on positivism has meant that our “inner lives have become more barren.” (Versluis,
2004, p.3)
The word ‘esoteric’ itself comes from the Greek root esotero meaning ‘within’ or
‘inner’ and refers to a hidden “… spiritual knowledge, held by a limited circle…” (Versluis,
2007, p.1) This spiritual knowledge travelled through Western Europe and into North
America, from the ancient Greek and Roman mystery traditions, whilst retaining on its
journey a tangible and characteristic “… scent of mystery.” (Faivre, 2010, p.2) At the heart of
this mystery is a belief in the story of Adam and Eve’s fall from paradise, which exists as a
metaphor for the external, exoteric search for knowledge that is deemed as ultimately
responsible for humanity’s “fall” and disconnection from its true nature. Esotericism can
therefore be characterised in its search for this forgotten knowledge, as a quest that aims to
reintegrate the forgotten, inner knowing that is essential for the re-establishment of
humanity’s original connection. “The purpose of the esoteric practitioner is to re-unite
humanity with nature, through the divine… Through the divine we can access the universal
inner language of nature.” (Versluis, 2004, p86.) The act of ‘reading’ nature becomes central
here and represents a transcendent path of discovery, one that leads towards an
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engagement with esoteric knowledge, both within oneself and the cosmos. This belief in the
recuperation of lost powers and the journey back towards original perfection in fact “…
reflects an autonomous and essential aspect of the relationship between the mind and the
cosmos.” (Goodrich-Clarke, 2008, p.13) It is here that we may begin to draw a clear
distinction between the esoteric and the rational approach to knowledge and understanding.
“Aspirants seek direct spiritual insight into the hidden nature of the cosmos and of
themselves – they seek Gnosis.” (Versluis, 2007, p.1)
GNOWING IS GNOWING…
Within esoteric traditions, knowledge is gained via inner knowing or ‘gnosis’, and
defined as an “…experiential insight into the nature of the divine as manifested in the
individual…” (Versluis, 2004, p.1) This is central to esotericism. It is this search for personal,
transcendent re-union that remains key to many of the traditions of European thought
previously considered irrational, and even deviant in the eyes of society. The rationalism that
marginalised ancient philosophies such as astrology, alchemy and kabbalah, in favour of an
attitude of objectification and manipulation of the external world, served to externalise
mankind. The resulting disconnection drove esoteric seekers to piece together fragments of
forgotten knowledge and to seek “… direct perception of hidden, esoteric aspects of the
cosmos.” (Goodrich-Clarke, 2008, p.11) Gnosis then became the subject and the goal of a
type of hidden initiatic teaching that represented a “religious marginality” (Versluis, Concise,
p.3). Esoteric practitioners continue to seek this inner knowledge via an engagement with
“… works that are self understood as bearing hidden, inner-religious, cosmological or meta-
physical truths …” (Versluis, 2004, p.8)
An emphasis on attaining spiritual knowledge or gnosis beyond established doctrine
has placed the definition of the esoteric outside the reach of the academy and mainstream
history for many years. For example, “… the legacy of heretic hunting continues to inform
religion, politics, and even scholarship right up to the present.” (Versluis, 2007, p5.)
Fortunately this has changed in recent years. Antoine Faivre’s clarification of fundamental
characteristics of esoteric spirituality have become definitive and “… offers a means of
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systematically comparing traditions with one another.” (Goodrich-Clarke, 2008, p.10) Such
characteristics are taken from the Renaissance concordance of Neo-Platonism, Hermeticism
and Kabbalah, along with astrology, alchemy and magic. (Goodrich-Clarke, 2008, p.7-8) They
are as follows:
1. Correspondences: Reflected in the axiom “As above, so below”, the expression of
the divine origin of all creation is seen to exist within all living things. The
microcosm therefore reflects the macrocosm and vice versa.
2. Living Nature: A belief that the whole of nature and the cosmos is animated by the
one living soul.
3. Imagination and Mediations: Creative Imagination is recognised as a tool and an
intermediary, a way to the divine. For example, The Mundus Imaginalis of Henry
Corbin.
4. Experience of Transmutation: A belief that the inner experience of understanding
leads to a transmutation of the speculative subject, an alchemical change of state
and shift in perception.
5. The Practice of Concordance: The idea that there exists an expression of
similarities amongst traditions and a common source of knowledge from which
such traditions and religions have spread throughout the world – a perennial
philosophy.
6. Transmission: A transmission of knowledge that characteristically occurs from
Master to disciple in an identifiable process of initiation that is often reflected in a
ritual tradition.
There is however, one key characteristic that remains unqualified in the above
definition, and one that is of particular interest for us here. Although regarded by Faivre as
being demonstrated through the existence and use of ritual, there is another important
factor in the transmission of knowledge that appears to take place within the western
esoteric tradition.
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LET THE INITIATION BEGIN…
Initiation can be regarded as a beginning or an entering into of a tradition or group.
Such a process is accompanied by the acquisition of secret or special knowledge. Within
esoteric spirituality this type of initiation, as well as occurring through ritual, is believed to
also take place through the reading of a text or an encounter with an image. Knowledge has
always been expressed through the use of art, language and image, yet in the case of
esoteric traditions, knowledge also exists as an ‘invisible college’ of initiation that lies within
“the full range of cultural works, like those of literature and art, which may very well convey
secrets hidden from the casual observer.” (Versluis, 2004, p.11) Here we see a concept of
spiritual initiation, taking place through an engagement with an artistic use of symbolism in
the form of images or words, which “… rests on a subtle knowledge of the relationships
uniting God, humankind, and the universe.” (Faivre, 2010, p.32) Esoteric literature and art
can be viewed characteristically as containing an expression of, and indeed pointing towards,
a metaphysical gnosis. “The weight of initiatory transmission is transposed to literary and
artistic works, and thus also to the individual…” (Versluis, 2004, p12) Esoteric art in this sense
becomes a metaphor for transformation, a journey or an account of a journey into the
‘imaginal’ realm. Active imagination is then regarded as a faculty of perception and
transmutation that allows the audience (of esoteric art) the potential to develop cosmological
and metaphysical insights, that aim at achieving the essential “…change of consciousness
…” (Versluis, 2004, p.15) sought by esoteric practitioners.
This idea of an essential re-enchantment of the individual consciousness has led both
the Surrealists and esotericism into a shared opposition against the hegemony of rationalism
and conventional approaches to knowledge. This shared rejection “…recalls the view of
Mircea Eliade, that the reduction of culture to something lower… is a neurotic attitude, a
failure to believe in higher meanings…” (Goodrich-Clarke, 2010, p11) Esoteric traditions
consider literary and artistic work as pivotal tools in the re-engagement with such higher
meanings, and in a manner that proved attractive to the socially motivated Surrealist art
movement. As we shall see, the shared goal of re-enchantment and the promise of a change
in consciousness led Surrealist artists to engage with esoteric traditions in an attempt to use
esoteric philosophy as inspiration for personal, artistic and social transformation. Such an
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examination allows for an awareness of the cultural circumstances that favour the emergence
of esotericism, its influence on philosophy, science, religion and art, whilst helping us to
define further the very nature of what is esoteric art.
SURREAL YET SO REAL…
Caught between European communism and Stalinist Soviet Union, Surrealism
emerged in early 1920’s Paris under an influence from the Decadent and Symbolist art
movements and directly out of the anti-war theatre and art of the preceding Dadaists of
Zurich. A revolutionary and modern movement, Surrealism used the manifesto to define itself
in its pursuit of a completely new symbolic language, one that aimed at encompassing the
whole of the human psychological field. “Surrealism aims quite simply at the total recovery of
our psychic force by a means which is nothing other than the dizzying descent into
ourselves.” (Breton, 1924, p.1) An interest in the work of Sigmund Freud (1856-1939) and
the content of dreams, for example, was a reaction to the domination of rationalism that led
Surrealist artists to produce works of disturbing power, engaging audiences still today with a
peculiar aesthetic effect that is both “… strange and frightening yet mysteriously compelling
and vital.” (Rabinovitch, 2003, p.3) The movement has therefore consistently refused to be
defined in terms of any particular aesthetic. Its emergence did not represent a new style or
form of culture but was instead an experimental mode of enquiry and an important “…re-
evaluation of the past, that existed as an attempt to explore obscure and neglected aspects
of human existence.” (Choucha, 2010, p.47)
In an effort to escape the restraints of both universal determinism and the social and
cultural predations of capitalism, the Surrealists often set out to menace and shock society
toward a change of perception. “They attempted to change consciousness, not by
proselytizing but by attacking existing criteria and evoking new dimensions of perception
and new means to express it.” (Choucha, 2010, p.10) The artists of the movement became
interested in subjects considered unacceptable to social norms, in the hope that the
expression of such forbidden modes of thought, dreams or desires would lead to wholeness.
Andre Breton (1896-1966), who had studied medicine and was posted to a psychiatric
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hospital during the war to treat shell-shocked soldiers, wrote in the ‘The First Surrealist
Manifesto” (1924) that surrealism was based on the belief in the superior reality of certain
forms of previously neglected associations, “…the omnipotence of dream, in the
disinterested play of thought, the resolution of dream and reality into a kind of absolute
reality and surreality” (Szulakowska, 2007, p.31). The distrust of the vision of the world
provided by the senses fuelled the Surrealist search for an inner resolution of the conflict of
opposites. As a result their artistic experiments attempted to dissolve the differences
between perception and representation between the signifier and the signified. “…There is,
in the surrealist quest, and has been since the start… a search for the absolute that aims at
restoring the lost unity… (Lepetit, 2014, p.24). It was indeed such concerns that led
Surrealism to engage with important works of esotericism.
ESOTERICALLY SPEAKING…
An influence and appreciation for esotericism is clear in the work of the main players
within the Surrealist movement. Artists such as Andre Breton, Victor Brauner, Max Ernst,
Salvador Dali, Leonora Carrington, and Antonin Artaud, all openly engaged with esoteric,
magical and occult philosophies as sources of inspiration. For example, the séance was seen
as a setting for displays of automatism, for expressions of the unconscious. Techniques of
collage, automatic drawing and the use of chance in composition were inspired by
spiritualism, psychical research and the esoteric currents of mesmerism, and used as a means
for arriving at the purely spontaneous. Such techniques were seen as a means of liberating
the creative unconscious and the creativity of the artist in order to achieve “the illuminated
artistic consciousness.” (Szulakowska, 2007, p.39) Breton himself had always appreciated the
allegorical and poetic potential of esoteric themes, seeing the occult as a genre of
transgression and as a site of radicalism and subversion, but it wasn’t until after World War II
that these ideas became more established within Surrealism.
“Surrealism in 1947 was in many ways a product of Breton’s last days of exile during World
War II and his hopes for the movements future, his continuing interests in mythology, the
occult and magic, and his embrace of a new political philosophy.” (Adams, 2007, p167)
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This development occurred some years after Breton himself had already called for “…
a profound, veritable occultation of Surrealism.” (Breton, 1929, p.2), and saw subjects such
as alchemy become important tools for the Surrealists in their revolutionary intention to
transmute the world into spiritual gold. The Occult Revival at the turn of the late 19th century,
that had sparked a renewed interest in esoteric arts, prompting scholarly and popular
publications, began to have a greater influence on the artists and writers of Breton’s
Surrealism. “The main source for Bretons occultist interests was the work of the French
magician Eliphas Levi (1819-1875) who was the major transmitter of alchemical and
kabbalistic ideas to 19th century Europe.” (Szulakowska, 2007, p.34)
Breton viewed the artistic process as comparable to the neurotic process, in which the
artist differed only from the neurotic by transmuting thwarted desires, that appear as
pathologies, into works of art. In this sense the artist became attributed with psychic healing
properties and alchemical abilities in their capacity to effect a transformation. The Surrealists
became magicians who sought to effect revolutionary change in the world through art and
they’re own personal transmutation. “By the early twentieth century this superhuman image
of the renaissance alchemist and magician had been transferred onto the
artist.” (Szulakowska, 2007, p.1) It was during this time that Breton also produced his work
‘Arcanum 17’, inspired by his interest in the tarot and the 17th Major Arcana, where “…the
concept of rebirth as seen in the tarot, the proposed myths, and the general themes of
Arcanum 17, relate[d] directly to the initiatory approach that would be undertaken in
Surrealism…” (Adams, 2007, p.175)
By the late 1940’s Breton had publicly declared his belief that esotericism “partially
unveils to man the mechanism of universal symbolism” at the 1947 Surrealist Exhibition
(Lepetit, 2014, p33) This uncovering of a universal symbolic language, alongside the
increasing appearance of alchemical or kabbalistic symbols in modern art, broke away from
centuries of esoteric tradition and represented the emergence of a new language of personal
spiritual liberation for both the authors and the audience of modern art. “The Surrealists
created a new epistemology that includes the symbolic transformation of experience in art
and religion…” (Rabinovitch, 2003, p.8-9). The works created by alchemists, for example,
and updated by the Surrealists became an integral part of the promotion of a spiritual
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enquiry that could exist outside of institutionalised religion. The Surrealists had now bought
what had previously been occult, secret or unknown to light. Inspired by esotericism, the
modern artists of the time assumed the responsibility for initiating not only themselves but
also their audience, in search of a complete social reformation of society. This possibility of
initiation, transformation and transcendence became offered by the art of the ‘new
magicians’ and was undoubtedly an inspiration for the work of Alejandro Jodorowsky. In his
film The Holy Mountain the director casts himself in the role of ‘The Alchemist’ assuming
responsibility for not only the enlightenment in the narrative of the central character, but also
for the potential enlightenment of his audience as well. Here we see an attempt to bring the
definitive process of initiation within esoteric art to the light of the cinema screen.
JODO-WHO-WSKY?
Born in Chile to Russian immigrants, Alejandro Jodorowsky travelled to Paris in 1953
to study mime with Marcel Marceau, where upon arrival he promptly telephoned Andre
Breton, at 3 o’clock in the morning, to announce himself “A young man of 24, and I’ve come
to revive Surrealism!” (King, 2007, p.67) The existence of such anecdotal evidence for the
seemingly ambiguous relationship between Jodorowsky and Surrealism, has unfortunately
left his film-work largely beyond critical appreciation. “The problematic of Jodorowsky’s work
in relation to Surrealism is something that runs through it from the beginning.” (Richardson,
2006, p.139) Having had only a relatively fleeting relation with some of the main players at
the tail end of the Surrealist movement (such as Dali whom he cast in his attempted
production of Dune (1974), and with Leonora Carrington whom he met and entered into a
brief, yet surreal relationship with, “To enter into the mind of such a women was as if I was
being immersed and baptised” (Jodorowsky, 2005, p.27), we are left with work that has
largely evaded academic analysis and critical definition. However a clear influence of the
esoteric concerns of the Surrealist movement certainly runs throughout his work, as some
writers have noted. “… the explicit surrealist films of Alejandro Jodorowsky, whose cinema
resorts to a combination of violent imagery and mysticism to offer a provocative view of
religion and of society.” (Stone, 2013, p.77) The work of not only Antonin Artaud’s ‘Theatre of
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Cruelty’ but also the Surrealist novelist Rene Daumal’s Mount Analogue (1952) were also of
huge influence to The Holy Mountain.
The film is essentially a quest, an effort on the part of the main character ‘The Thief’ to
transmit an enlightenment narrative, a journey through difficult rituals and initiations, that
seem intrinsically linked to Jodorowsky’s own personal quest for enlightenment. Characters
such as the ‘Written Woman’ appear with Hebrew and alchemical letters on her body. ‘The
Alchemist’, played by Jodorowsky himself, performs an alchemical ritual with ‘The Thief’ and
‘The Written Women’ in which he says “You are excrement. You can change yourself into
Gold.” (Jodorowsky, 1973) Whilst sitting in a room surrounded by paintings of the Tarot’s
Major Arcana we witness seven plaster cast characters come to life, “Thieves like you” whom
represent the seven classical planets of astrology - an effort to characterise and humanise the
planetary influence, reminding us of Botticelli’s Primavera and his efforts to do the same. “In
almost any scene hidden meanings can be deciphered and new and unexpected
constellations emerge from the mix of alchemical symbolism and pop psychedelia.” (Spann,
2014, p.63) The group of characters then plan to “conquer the wisdom of the immortals”
and assault the holy mountain. At the end of the journey the last immortal left, Jodorowsky’s
character ‘The Alchemist’, tells the camera to zoom back to reveal the film crew and
equipment at the foot of the mountain. “We are images, dreams, photographs. We shall
break the illusion. This is Maya. Goodbye to the holy mountain. Real life awaits
us.” (Jodorowsky, 1973) The film premiered at the Cannes Film Festival in 1973 before
dropping from sight, becoming a cult midnight movie and later only available on bootleg
copies.
CONCLUSION AND ALL…
The narrative structure of The Holy Mountain, the search for the ‘secret of the
immortals’, the process of ceremony and initiation, an ascent, a healing, and the revelation of
lessons learnt on the quest represent an overtly esoteric narrative. The symbolism from
mythological, astrological, religious, historical and cinematic sources all combine in a manner
that, at the very least, evokes the spirit of the Surrealist engagement with the esoteric.
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“Jodorowsky’s work does still retain a Surrealist affinity in its exuberance, and in his trust of
the imagination…” (Richardson, 2006 p.142) Yet does the inclusion of such content define art
as strictly esoteric? As Jodorowsky himself suggests, his aim was to “Enlighten his audience!”
(Cobb, 2006, p.84) Yet is that intention enough? And does he succeed? How much of this
work is about the artist’s own personal process and how much is audience focused? This is an
attempt at a kind of popular spiritual enlightenment, bringing the esoteric out of the realms
of fine art and into folk art and performance.
This issue that the Surrealist/esoteric relationship faces is whether or not such
appropriation of esoteric content truly engages with its original intention or power. Is it
possible to qualify a successful transcendence in an artist or even an audience member?
When the Surrealists took esoteric symbolism from its traditional sources it immediately
became appropriated for an increasingly public consumption. How does this affect the
quality of such effort as Jodorowsky has made, to enlighten the audience? When does such
work cross over into escapism? “Artists who employ alchemical or other magical imagery
have often been castigated for their supposed escapism.” (Szulakowska, 2007, p.5) The
nature of the release into the public domain of The Holy Mountain, with it at first being
limited to only midnight movie status, then eventually being completely withheld by EMI,
certainly meant that this particular piece of work retained an element of secrecy, a clearly
definitive characteristic of traditional esoteric art. If it becomes necessary for the audience to
actively seek out such work, can that work then become considered truly esoteric? And of
course, is it even possible for film as a medium to provide us with such an experience?
Wilson (2006) would suggest that it can. “Film, seemingly a revolt against reality, is perhaps
the most spiritual of mediums.” (Wilson, 2006, p.24)
What we see with The Holy Mountain as well as Surrealism’s engagement with esoteric
subjects is a typically Surrealist contradiction that serves to both clarify and further question
the very characteristics of what is esoteric art. An important historical feature of the Surrealist
emergence is the social and cultural circumstances for the increased popularity of the
esoteric. “It is notable that esoteric ideas often attend the breakdown of settled religious
orthodoxies and socioeconomic orders.” (Goodrick-Clarke, 2008, p.13) In the quest for post
war re-enchantment of society, the Surrealists helped to uncover and redefine the nature of
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the sacred in human experience. As defined by Rudolf Otto (1869-1937) in The Idea of The
Holy (1923) the holy may be considered as composed of both “Daunting awfulness and
majesty”(Otto,1923, p89). Surrealist imagery and certainly the content of Jodorowsky’s The
Holy Mountain retain such a characteristic virtue. These images carry an immense amount of
contradiction, and are charged with a psychological tension of opposites that bring together
both the ordinary and the occult. Perhaps the Surrealist period may be viewed as a larger
self-initiation process, an effort by society to seek out the sacred from within.
The critical understanding of such a notion has received similar treatment to the
esoteric subjects it has appropriated. “Unfortunately the history of the avant garde’s
involvement with the esoteric tradition came to be deliberately obscured in the 1950’s and
1960’s by formalist art historians…” (Szulakowska, 2007, p.2) However, what we should take
from this analysis is certainly a rejection of the notion that the esoteric is simply irrational,
escapist and regressive or anti modern. Esoteric art is clearly driven by the concepts of
resistance, shining a light on the power of occult symbolism to disrupt and frighten its
audiences, whilst highlighting the relationship between such symbolism and the very
structures of power and knowledge.
“Esotericism… involves a return to sources, to some archetypal forms of thought and
energy which generate a fresh round of cultural and spiritual development. In this
regard, esotericism is an essential element of renewal in the historical
process.” (Goodrick-Clarke, 2008, p.14)
The heretical nature and impulse of esoteric art clearly reflects the 20th century notion
of disenchantment - a reaction to a civilisation that has lost its way and one that garnered a
new religious impulse in the Surrealists and the work of Alejandro Jodorowsky. If a piece of
art can successfully deliver such cultural and spiritual development, an archetypal return to
source, then it can surely be considered esoteric art.
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REFERENCES
Adams, E. (2007) After the Rain: Surrealism and the Post World War II Avant-Garde, 1940-1950 .
ProQuest: New York University.
Baudin, T. (2010) The Occultation of Surrealism: University of Amsterdam: PHD Dissertation.
Breton, A. (1924) The Surrealist Manifesto, Editions du Sagittaire
Breton, A. (1929) The Second Surrealist Manifesto, Editions du Sagittaire
Choucha, N. (2010) Surrealism and the Occult, Mandrake.
Cobb, B (2006) Anarchy and Alchemy : The Films of Alejandro Jodorowsky, London: Creation Books.
Faivre, A. (2010) Western Esotericism: A Concise History, Suny Press.
Goodrich-Clarke, N. (2008) The Western Esoteric Tradition, Oxford University Press.
Jodorowsky, A. The Holy Mountain, 1973.
Jodorowsky, A. (2005) The Spiritual Journey of Alejandro Jodorowsky, Rochester, VT: Park Press.
King, E. (2007) Dali, Surrealism and Cinema, Kamera Book.
Lepetit, P. (2014) Esoteric Secrets of Surrealism, InnerTraditions: Rochester, VT: Park Press.
Otto, R (1923) The Idea of the Holy, 2nd ed. (1958), Oxford University Press.
Rabinovitch, C. (2003) Surrealism and the Sacred : Power, Eros and the Occult. Boulder: Colorado.
Richardson, M. (2006) Surrealism and Cinema, Bloomsbury.
Spann, M (2014) The Holiest of Mountains, (in) Abraxas Special Issue 2: The Influence of the Esoteric
in Cinema, ed by Jack Sargeant, Winter 2014.
Stone, R. (2013) A Companion to Luis Bunuel, Wiley Blackwell.
Szulakowska, U, (2007). Alchemy in Contemporary Art, Ashgate Press.
Versluis, A. (2004) Restoring Paradise, Western Esotericism, Art and Consciousness, Suny Press.
Versluis, A. (2007) Magic and Mysticism, Rowan and Littlefeld
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Versluis, A. (2009) Esotericism, Art and Imagination: East Lansing: Michigan State Uni Press.
Warlick, M. E (2013) Max Ernst and Alchemy : A Magician in Search of Myth, University of Texas
Press.
Wilson, E. (2006 ) Secret Cinema: Gnostic Vision in Film, CI Publishing.
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