Un Chien Andalou Noailles, who commissioned Dalí and Buñuel to create a sequel, of around the same length, with sound, to be called "La Bête Andalouse", in order to affirm its connection with "Un Chien". Dalí stated that the theme of the new film was to parallel that of the first: "to present the straight and pure 'conduct' of someone who continues to pursue love despite wretched humanitarian ideals, patriotism and the other poor mechanisms of reality." This new film ultimately was released in 1930 under the title "L'Age d'Or" but was quickly withdrawn by the Noailles family after being banned by the
Film editing such as Lev Kuleshov (already mentioned) further explored and theorized about editing and its ideological nature. Sergei Eisenstein developed a system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called Intellectual montage. Alternatives to traditional editing were also explored by early surrealist and Dada filmmakers such as Luis Buñuel (director of the 1929 "Un Chien Andalou") and René Clair (director of 1924's "Entr'acte" which starred famous Dada artists Marcel Duchamp and Man Ray). The French New Wave filmmakers such as Jean-Luc Godard and François Truffaut and their American counterparts such as