By Rob Stone, Julian Daniel Gutierrez?Albilla(auth.)
A significant other to Luis Bunuel provides a suite of serious readings by way of the various most appropriate movie students that examines and reassesses myriad elements of world-renowned filmmaker Luis Bunuel’s lifestyles, works, and cinematic themes.
- A number of serious 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 variety of techniques from specialists in movie stories, Hispanic reports, Surrealism, and theoretical innovations equivalent to these of Gilles Deleuze
- Presents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis Bunuel
Chapter none creation (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 technique 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 laptop (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 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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Additional resources for A Companion to Luis Bunuel
A belief that originates with Don Lope (Fernando Rey) in Tristana: “I say to hell with the work you have to do to earn a living! That kind of work does us no honour; all it does is fill up the bellies of the pigs who exploit us. ” Furthermore, just as Slacker may be understood as a reworking of La Voie lactée, so Linklater’s SubUrbia (1996) in which disgruntled youths spend all night unable to leave a street corner is one of El ángel exterminador, while in preproduction notes for his Dazed and Confused (1993), Linklater claims he “quickly had to learn to drop all references to Los olvidados” (Pierson, 1996: 196) so as not to alienate the major studios.
Although increasingly fragile and hindered by his deafness, his vicious yet affirmative discourse on the failings and frustrations of an ageing man (Fernando Rey), whose clumsy seduction of the young woman played by two actresses leads him to confront the base and disrespectful cravings of his desire, was also Buñuel at his most resolute. He retired thereafter and, with the help of Carrière, wrote his magical and untrustworthy autobiography Mon dernier soupir, which was published in 1982 and which provides an account of key episodes in his life, descriptions of his friends and family, bemusing outlines of dreams, and an array of encounters with numerous artists and filmmakers as well as memories of student pranks, family matters, and filming.
The film deconstructs the conventions of the documentary genre with the disjunction of Pathé-style voice-over commentary and disturbing images, which creates a tension and incongruence that deliberately threatens the authoritative prerogative of the genre. Las Hurdes was promptly banned and would remain so for over 40 years. If, however, Buñuel’s fictions mostly contain their absurdities within Classical or Romantic conventions, the enduring legacy of Las Hurdes on the documentary form is one that does broach a Modernist dialectic in its deconstruction of the conventions of the genre.
A Companion to Luis Bunuel by Rob Stone, Julian Daniel Gutierrez?Albilla(auth.)