Un Chien Andalou directed exclusively to the artistic sensibility and to the reason of the spectator." Against his hopes and expectations, the film was a huge success amongst the French bourgeoisie, leading Buñuel to exclaim in exasperation, "What can I do about the people who adore all that is new, even when it goes against their deepest convictions, or about the insincere, corrupt press, and the inane herd that saw beauty or poetry in something which was basically no more than a desperate impassioned call for murder?" Through their accomplishment with "Un Chien Andalou", Dalí and Buñuel became the first filmmakers to be
Maya Deren influence because of the surreal nature of "Meshes of the Afternoon". Bunuel's "Un Chien Andalou" (1928) is on the premier examples of film representing the structure of the subconscious. Deren detested this comparison because of the surrealist movement's interest in the entertainment value of its subject more than its meaning. The form of "Meshes of the Afternoon" does not compare to Un Chien Andalou either. Psychoanalysis of "Meshes of the Afternoon" from a Freudian viewer or Jungian viewer attempted to decode the symbolism in the film to uncover what Deren was saying about identity and sexuality. Deren adamantly objected her