This thesis examines the use of photographs in surrealist publications in Paris between 1924 and 1969, analysing how images functioned both in relation to surrealism and a wider cultural, social and political context. The thesis contends that developments in the illustrated press had a substantial impact on surrealist publications and that commercial photographic practices were both exploited and subverted by the group. I defend this assertion by demonstrating how photographers associated with the surrealist movement in its formative years, were closely involved in the process by which the photographic image became a major means of communication. I argue that the surrealists were conscious that photography was central to the circulation of ...