But Dali fashioned an entirely new method that nobody had really ever thought about. Imagine a shot of two skiers in the snow. Nothing very startling about that. Just a pair of skiers. Then a panorama stops on a snowy hill.
Nothing shows that the scene has changed, it's only that the skiers are out of the shot.
Then the camera pulls back, and only now do we see the complete image. The substitution has been introduced very early in the sequence, but the eye continues to distinguish snow, maybe recognizing feminine forms, until finally it must admit that there is a woman and nothing else. No one else had ever worked like that - combining surrealist art and animation. At the time, film as an art medium was not on the agenda. Most movies were simple cornball stories that in the best cases became classics, such as Casablanca, but many were unmemorable.