By Rob Stone, Julian Daniel Gutierrez?Albilla(auth.)
A significant other to Luis Bunuel offers a suite of severe readings through some of the most effective movie students that examines and reassesses myriad features of world-renowned filmmaker Luis Bunuel’s lifestyles, works, and cinematic themes.
- A choice of severe readings that learn and think again the debatable filmmaker’s lifestyles, works, and cinematic themes
- Features readings from numerous of the main highly-regarded specialists at the cinema of Bunuel
- Includes a multidisciplinary diversity of methods from specialists in movie experiences, Hispanic stories, Surrealism, and theoretical suggestions corresponding to these of Gilles Deleuze
- Presents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis Bunuel
Chapter none advent (pages 1–58): Rob Stone and Julian Daniel Gutierrez?Albilla
Chapter 1 Interview With Juan Luis Bunuel (pages 61–78): Rob Stone
Chapter 2 Luis Bunuel and the Politics of Self?Presentation (pages 79–97): Julie Jones
Chapter three Bunuel, grasp Pyrotechnician (pages 98–115): man H. wooden and Javier Herrera Navarro
Chapter four Bunuel's Critique of Nationalism (pages 116–137): Mieke Bal
Chapter five Surreal Souls (pages 141–155): Sarah Cooper
Chapter 6 Fixed?Explosive (pages 156–171): Ramona Fotiade
Chapter 7 L'Age d'or (pages 172–187): Agustin Sanchez Vidal
Chapter eight Bunuel Entomographer (pages 188–201): Tom Conley
Chapter nine The Complicit Eye (pages 203–225): Erica Segre
Chapter 10 misplaced, Out of Synch (pages 226–239): Tom Whittaker
Chapter eleven Susana (pages 240–254): Maria Pilar Rodriguez
Chapter 12 younger Outlaws and Marginal Lives in Latin American Cinema (pages 255–275): Ana Morana
Chapter thirteen The artistic means of Robinson Crusoe (pages 277–301): Amparo Martinez Herranz
Chapter 14 The Cinematic hard work of impact (pages 302–323): Geoffrey Kantaris
Chapter 15 Stars within the desert (pages 324–339): Sarah Leahy
Chapter sixteen Transitional Triptych (pages 340–361): Ernesto R. Acevedo?Munoz
Chapter 17 Bunuel is going Medieval (pages 362–377): Sherry Velasco
Chapter 18 The Galdos Intertext in Viridiana (pages 379–398): Sally Faulkner
Chapter 19 Spectral Cinema (pages 399–413): Kate Griffiths
Chapter 20 among God and the computing device (pages 414–430): Libby Saxton
Chapter 21 the line and the Room (pages 431–453): Marsha Kinder
Chapter 22 On a street to Nowhere (pages 455–478): Sheldon Penn
Chapter 23 The Intertextual Presence of Lewis Carroll's Alice in Belle de jour (pages 479–493): Arnaud Duprat de Montero
Chapter 24 Splitting Doubles (pages 494–508): Peter William Evans
Chapter 25 Bunuel and old cause (pages 509–517): Cristina Moreiras?Menor
Chapter 26 via a Fractal Lens (pages 518–534): Wendy Everett
Chapter 27 Mutilation, Misogyny, and homicide (pages 535–553): Paul Begin
Chapter 28 Inside/Outside (pages 554–571): Jimmy Hay
Chapter 29 Surrealist Legacies (pages 572–589): Felicity Gee
Chapter 30 Luis Bunuel's Angel and Maya Deren's Meshes (pages 590–607): Susan McCabe
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Additional info for A Companion to Luis Bunuel
Courtesy of the Filmoteca Española. 10 Filming Viridiana. Courtesy of the Filmoteca Española. 11 Buñuel (right) directing Fernando Rey (left) and Silva Pinal in Viridiana. Courtesy of the Filmoteca Española. 12 Buñuel directing Silvia Pinal in Viridiana. Courtesy of the Filmoteca Española. 22 Rob Stone and Julián Daniel Gutiérrez-Albilla In subsequent Spanish cinema, we can trace explicit and implicit intertextual relationships between Buñuel and Spanish film movements and filmmakers. For instance, the allegorical cinema of the 1970s, whose emphasis on the use of the “trope of haunting,” to use Jo Labanyi’s concept, was an effective cinematic mechanism less as a way of negotiating with the conventions of the horror film genre than as a kind of surrealist incursion into the horrific for the representation of the violence of the Spanish Civil War and its repressive aftermath through, as Labanyi has put it, the use of suggestion rather than statement (2007).
The sense of dislocation that emerges from a study of his films is one that inspires empathy in any number of mavericks and outsiders. This individuality, which saw him split from the Surrealists and the Communists, was disparaged by Sergei Eisenstein in his memoirs (1946) in which the Soviet theorist and filmmaker describes Un chien andalou as “a film that totally and consistently reveals the prospects for the collapse of bourgeois consciousness in ‘surrealism’” (1997, II: 327) without responding to the potential alternative of the ascendant socialist state.
Courtesy of the Filmoteca Española. 20 Buñuel directs Catherine Deneuve on the set of Belle de jour. Courtesy of the Filmoteca Española. 21 Buñuel’s cameo appearance in Belle de jour. Courtesy of the Filmoteca Española. 22 29 Buñuel attending a film festival. Courtesy of the Filmoteca Española. themselves in any form of coherent opposition. From this perspective, by the 1960s, Buñuel’s cinema already points to an ambivalent, if not productive, tension between the use of a grand narrative that is the product of modernity, namely Surrealism, and the consciousness of the impossibility of the grand narratives or metanarratives to account for all the dilemmas of human understanding.