Federico García Lorca poet". He wrote: "The gypsies are a theme. And nothing more. I could just as well be a poet of sewing needles or hydraulic landscapes. Besides, this gypsyism gives me the appearance of an uncultured, ignorant and primitive poet that you know very well I'm not. I don't want to be typecast". Growing estrangement between García Lorca and his closest friends reached its climax when surrealists Dalí and Luis Buñuel collaborated on their 1929 film "Un Chien Andalou" ("An Andalusian Dog"). García Lorca interpreted it, perhaps erroneously, as a vicious attack upon himself. At this time Dalí also met his
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