By Rob Stone, Julian Daniel Gutierrez?Albilla(auth.)
A better half to Luis Bunuel offers a suite of serious readings by means of a number of the finest movie students that examines and reassesses myriad elements of world-renowned filmmaker Luis Bunuel’s existence, works, and cinematic themes.
- A selection of serious readings that research and re-evaluate 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 reviews, Surrealism, and theoretical suggestions 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- Presents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis Bunuel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 desolate tract (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 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 info for A Companion to Luis Bunuel
The Russian theorist Mikhail Bakhtin claims that “consciousness awakens to independent ideological life precisely in a world of alien discourses surrounding it” (1981: 360) but when did this happen for Buñuel, if ever? As described, after his formation in France, his first solo effort as a director and his first film made in Spain was Las Hurdes, with which he brought the surrealist aesthetic home. But is the surrealist aesthetic based on an awakening consciousness from which the imagination emanates enriched enough to justify the claim of a contrapuntal awareness in the making of this and other films?
Courtesy of the Filmoteca Española. 17 Buñuel and Jeanne Moreau on the set of Le Journal d’une femme de chambre. Courtesy of the Filmoteca Española. 18 Jean Sorel, Luis Buñuel, and Catherine Deneuve on the set of Belle de jour. Courtesy of the Filmoteca Española. 19 Michel Piccoli, Catherine Deneuve, and Buñuel filming Belle de jour. 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.
Lynch’s Eraserhead (1977) is the film that has come closest to replicating the tone and mood of a nightmare since Un chien andalou, but Lynch is less atheistic and more a hopeful believer in the power of transcendence, whose films still rework innately conservative genres in perverse ways. He pays explicit homage to Buñuel’s doubling of his protagonists in Cet obscur objet du désir with Lost Highway (1997) in which Patricia Arquette plays the twin roles of a man’s wife and his lover, while Mulholland Drive (2001) also engages in the mischievous doubling of characters and sees alternate worlds in a mysterious box that recalls that of Un chien andalou, Belle de jour, and, in its noirish overtones, the equally Buñuelian glowing briefcase in Robert Aldrich’s Kiss Me Deadly (1955), which subsequently reappears in Quentin Tarantino’s Pulp Fiction (1994).
A Companion to Luis Bunuel by Rob Stone, Julian Daniel Gutierrez?Albilla(auth.)