A significant other to Luis Buñuel offers a suite of severe readings via a few of the optimal movie students that examines and reassesses myriad features of world-renowned filmmaker Luis Buñuel’s lifestyles, works, and cinematic issues.
• a suite of serious readings that research and re-evaluate the debatable filmmaker’s existence, works, and cinematic themes
• positive aspects readings from numerous of the main highly-regarded specialists at the cinema of Buñuel
• encompasses a multidisciplinary diversity of techniques from specialists in movie reviews, Hispanic reports, Surrealism, and theoretical thoughts akin to these of Gilles Deleuze
• provides a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel
Read Online 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)
One way of representing contrapuntal awareness is by balanced or symmetrical subjectivities – although a consequence of this is the impossibility of ever anchoring a filmmaker’s viewpoint, for Buñuel is effectively without anchor, eternally oscillating, moving from one foreign context to another (Spain, the United States, Mexico, and France) and having to deal with new restrictions in each culture. Contrapuntal awareness sees the artist or writer becoming in effect his/her own reflection, looking back at himself/herself in both directions, which perhaps, as Said suggests, may be calculated to kick-start creativity.
Bigas Luna, in the same way as Buñuel did, offers us, however, a ferocious critique of the preponderance of Hispanic machismo in Spanish society. With regard to Latin American cinema, Buñuel’s films, particularly Los olvidados, can be seen, as John King (1990) informs us, as obliquely anticipating a more auteurist, overtly political Left-oriented, and formally experimental new cinema in Latin America, epitomized by the postclassical generation of Mexican film directors and filmmakers in Cuba, Argentina, and Brazil, whose cinematic productions put into practice the theories these filmmakers wrote in their film manifestos.
However, his exile from Spain was not exactly in accordance with the view of the Palestinian-American literary theorist Edward W. Said when he wrote that exile is something “strangely compelling to think about but terrible to experience” (2000: 173) because Buñuel’s exile was arguably the making of him. Had he remained in Spain and suffered the church-backed dictatorship of Franco he might never have encountered the training, liberty, and patronage that he did in Mexico and France. Nevertheless, exile is such a common theme in his films and in the academic analyses they inspire that the nature of the outsider’s gaze that determines the viewpoint of his films is worth a cautious, initial investigation.