By Rob Stone, Julian Daniel Gutierrez?Albilla(auth.)
A significant other to Luis Bunuel offers a set of severe readings via the various prime movie students that examines and reassesses myriad features of world-renowned filmmaker Luis Bunuel’s lifestyles, works, and cinematic themes.
- A selection of serious readings that research and re-examine the arguable filmmaker’s lifestyles, 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 ways from specialists in movie reviews, Hispanic reports, Surrealism, and theoretical techniques similar 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- Presents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis Bunuel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 hard work of impact (pages 302–323): Geoffrey Kantaris
Chapter 15 Stars within the barren region (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 computer (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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A spouse to Luis Bunuel offers a set of serious readings via a number of the most popular movie students that examines and reassesses myriad features of world-renowned filmmaker Luis Bunuel’s lifestyles, works, and cinematic topics. a set of severe readings that study and re-examine the arguable filmmaker’s existence, works, and cinematic themesFeatures readings from a number of of the main highly-regarded specialists at the cinema of BunuelIncludes a multidisciplinary variety of methods from specialists in movie stories, Hispanic stories, Surrealism, and theoretical innovations comparable to these of Gilles DeleuzePresents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis BunuelContent: bankruptcy none creation (pages 1–58): Rob Stone and Julian Daniel Gutierrez?
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Additional info for A Companion to Luis Bunuel
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.
Hence, he remained faithful to his belief in the fact that we do not live in the best possible world. Indeed, this world in which his frustrated characters floundered was recognized by Deleuze as essentially realist; for he declared that only Buñuel, alongside Erich von Stroheim, was a master of naturalism in the cinema (Deleuze, 2005a: 129). According to Deleuze, Buñuel’s depiction of the social milieu in Le Charme discret de la bourgeoisie rendered it a “primordial location” to the extent that “never has the milieu been described with so much violence or cruelty, with its dual social division ‘poor-rich’, ‘good men-evildoers’” (Deleuze, 2005a: 130).
The claustrophobia of a room full of mismatched people that Buñuel mines to great satirical effect in El ángel exterminador and Le Charme discret de la bourgeoisie is also a staple of the British stage farce and television situation comedy, with the apogee of both being Mike Leigh’s Abigail’s Party (1977) in which Beverly Moss (Alison Steadman) invites her neighbors for drinks and an uncomfortably formal gettogether degenerates into a fearless exposé of the jealousy and spite that fuels the British class system.
A Companion to Luis Bunuel by Rob Stone, Julian Daniel Gutierrez?Albilla(auth.)