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Surrealist imagery soon entered the realm of mainstream filmmaking, appearing mostly as dreams and sometimes full features. Avant-garde artists began to move beyond. Here are two examples: in “Le Chant du Styrène” (“The Song of Styrene”), French New Wave master Alain Resnais turns plastic into poetry, and in “The Order,” a 31-minute excerpt of his three-hour epic Cremaster 3 (part of the nine-hour-long, five-part Cremaster Cycle), Barney looked to create form beyond biology, “cremaster” being the muscle that raises or lowers the testicles in response to temperature.