L’Âge d’or premieres as a public anticlerical film, a distinct instrument from Un Chien Andalou

L’Âge d’or is the dated 1930 public film and riot object. Salvador Dalí’s documented role is: He co-wrote with Buñuel. The Studio 28 riot and ban are the public polarisation file. He is not the sole director. This is the 1930 second film. Later editors, printers, and excavators remain named where they appear. Salvador Dalí's documented role is: He co-wrote with Buñuel. He is not the sole director.

Context

Paris, Studio 28. Right-wing vandalism and police closure sit in the file. Breton’s group is still neighbouring. Named others on the file: Luis Buñuel as co-maker; unnamed Studio 28 audience and police. The public setting is the file around 1930-11-28. The instrument stays L’Âge d’or premieres as a public anticlerical film, a distinct instrument from Un Chien Andalou. The setting of L’Âge d’or premieres as a public anticlerical film, a distinct instrument from Un Chien Andalou is the public file around 1930-11-28. Driver political-polarization is attached because the significance names a mechanism from this act, not because a standing list needed coverage.

Confidence is stated on the impact path, not hidden in adjectives. This is the 1930 second film. Mixed effects of L’Âge d’or premieres as a public anticlerical film, a distinct instrument from Un Chien Andalou are separate paths.

Why it matters

Anticlerical polarisation. Welfare reading worsening. The attached mechanism is A banned anticlerical premiere is a polarisation path. Lag to any modern indicator is not treated as zero. This path is attached because the mechanism is named from this act, not because a driver list needed coverage. The welfare reading on this path is worsening.

That reading is an impact-path choice, not a property stored on the Fact itself.