New PDF release: A Companion to Luis Bunuel

By Rob Stone, Julian Daniel Gutierrez?Albilla(auth.)

A significant other to Luis Bunuel provides a suite of severe readings via a number of the most popular movie students that examines and reassesses myriad aspects of world-renowned filmmaker Luis Bunuel’s lifestyles, works, and cinematic themes.

  • A number of severe readings that study and re-evaluate the debatable filmmaker’s existence, works, and cinematic themes
  • Features readings from a number of of the main highly-regarded specialists at the cinema of Bunuel
  • Includes a multidisciplinary diversity of ways from specialists in movie stories, Hispanic reports, Surrealism, and theoretical ideas equivalent 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  • Presents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis Bunuel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 inventive strategy of Robinson Crusoe (pages 277–301): Amparo Martinez Herranz
Chapter 14 The Cinematic exertions of have an effect on (pages 302–323): Geoffrey Kantaris
Chapter 15 Stars within the wasteland (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 desktop (pages 414–430): Libby Saxton
Chapter 21 the line and the Room (pages 431–453): Marsha Kinder
Chapter 22 On a highway 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 historic 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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Extra resources for A Companion to Luis Bunuel

Sample text

At the very least, his experience of travel must have made him appreciate picaresque fiction, where modular episodes are unified only by the presence of the central character that is similarly forced to move on continuously from one adventure to the next. Did Buñuel see himself as a pícaro – the rogue or rascal who lives by his wits in corrupt societies? At the very least, Buñuel’s severe criticism of nationalism included his rebuke of the nationalist rhetoric inherent in Mexican cinema at the time of his stay in Mexico.

The first of these was Gran casino, aka En el viejo Tampico (Magnificent Casino, 1946), a vehicle for Jorge Negrete and Libertad Lamarque that was produced by Oscar Dancigers, for whom he later directed El gran calavera (The Great Madcap, 1949). 7 Buñuel directing Julio Villarreal in Una mujer sin amor. Courtesy of the Filmoteca Española. 16 Rob Stone and Julián Daniel Gutiérrez-Albilla dead-end streets of what Buñuel identified as the lack of poetry in neorealism and consequently signaled the way for New Latin American Cinema.

Gilliam, meanwhile, whose animated segments for the Monty Python television series are hugely indebted to those of Švankmajer, is also an obvious acolyte of Buñuel; his opening sequence for Brazil (1985), for example, replicates the explosive imagery that ended Cet obscur objet du désir. The horrors of the British middle and upper classes that ironically birthed most members of Monty Python, just as Buñuel was a product of the Spanish equivalent, are also targeted in the films of Lindsay Anderson and Ken Russell.

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