Download A Companion to Luis Bunuel by Rob Stone, Julian Daniel Gutierrez?Albilla(auth.) PDF

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

A better half to Luis Bunuel provides a suite of severe readings through a few of the top-rated movie students that examines and reassesses myriad points of world-renowned filmmaker Luis Bunuel’s existence, works, and cinematic themes.

  • A number of serious readings that research and think again 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 techniques from specialists in movie experiences, Hispanic reviews, Surrealism, and theoretical ideas reminiscent of these of Gilles Deleuze
  • Presents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis Bunuel

Content:
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 means of Robinson Crusoe (pages 277–301): Amparo Martinez Herranz
Chapter 14 The Cinematic hard work of have an effect on (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 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 ancient 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

Example text

However, his friend, the anarchist Ramón Acín, promised to fund his next film if he won the lottery, and promptly did. Las Hurdes, aka Tierra sin pan (Land without Bread, 1932), is a bleak and virulent documentary on a poverty-stricken part of Spain where bread was unknown. 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.

In relation to Eastern European cinema in general, Joanna Rydzewska has written of Surrealism as a signifier of exile into another reality, although the direct influence of Buñuel is refracted through the work of other filmmakers such as Walerian Borowczyk, Jan Lenica, and Jan Švankmajer (Rydzewska, 2012). However, direct references to Buñuel also punctuate the films of Borowczyk, Jerzy Skolimowski, and Polanski, including Borowczyk’s image of Ewa lying on a bed in Dzieje grzechu (The Story of Sin, 1975), which is a straight quotation from Viridiana that points to these films’ shared exploration of sin, and the prostitute’s leg in a cast in Skolimowski’s Deep End (1970), which is fetishized like that of Tristana.

Was sought that extends from scholars in the United States and the United Kingdom to those in France and Spain. This selection also purposely ranges from the most revered experts to several new emerging scholars of exceptional promise. Several key themes emerged: the “time-image,” as theorized by Deleuze, was a concern of many, as was space in relation to movement, sexual behavior, and narrative. Buñuel’s practice of adaptation inspires several contributors, as did the stars he employed or was given to work with.

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