A spouse to Luis Buñuel offers a set of serious readings by way of a few of the most efficient movie students that examines and reassesses myriad points of world-renowned filmmaker Luis Buñuel’s lifestyles, works, and cinematic topics.
• a set of severe readings that research and think again the arguable filmmaker’s existence, works, and cinematic themes
• good points readings from numerous of the main highly-regarded specialists at the cinema of Buñuel
• incorporates a multidisciplinary diversity of ways from specialists in movie reports, Hispanic reports, Surrealism, and theoretical ideas resembling these of Gilles Deleuze
• provides a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel
Read or Download A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors) PDF
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Extra info for A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)
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).
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. Indeed, this will be the crucial concern for postmodern thinkers and artists in the subsequent decade when in 1979 Jean-François Lyotard writes his seminal book, La condition postmoderne: rapport sur le savoir (The Postmodern Condition: A Rapport on Knowledge).
Then, following his marriage to a pregnant Rucar in a secret civil ceremony so as not to upset either his family or his image as a committed libertarian, 14 Rob Stone and Julián Daniel Gutiérrez-Albilla he stubbornly dedicated himself to crucial efforts at establishing a viable Spanish film industry in his work for the Filmófono company. Between 1934 and 1936 he oversaw the making of four films as producer or “executive director,” which has inspired inconclusive auteurist investigations into La hija de Juan Simón ( Juan Simon’s Daughter, 1935), Don Quintín, el amargao (Don Quintin, the Bitter, 1935), ¿Quién me quiere a mí?