A significant other to Luis Buñuel provides a suite of severe readings by means of a number of the most efficient movie students that examines and reassesses myriad aspects of world-renowned filmmaker Luis Buñuel’s lifestyles, works, and cinematic topics.
• a set of serious readings that research and re-examine the arguable filmmaker’s existence, works, and cinematic themes
• beneficial properties readings from a number of of the main highly-regarded specialists at the cinema of Buñuel
• contains a multidisciplinary diversity of methods from specialists in movie reports, Hispanic reviews, Surrealism, and theoretical suggestions comparable to these of Gilles Deleuze
• offers a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel
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Extra info for A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)
It is an idea of Engels. The artist describes authentic social relations with the object of destroying the conventional ideals of the bourgeois world and compelling the public to doubt the perennial existence of the established order. That is the meaning of all my films: to say time and time again, in case someone forgets or believes otherwise, that we do not live in the best of all possible worlds. I don’t know what more I can do. (1982: 107) As Linklater admits when pressed to consider his films from a Buñuelian perspective, “many of these are perverse subjects, when you talk about social strata and expectations” (Stone, 2013).
And there is his influence on Japanese cinema too, where critics and satirists of the rigid, hierarchical society there d iscovered common ground in the rebellion against social strictures in the films of Buñuel. Hiroshi Teshigahara, for example, has debunked the magic realist critique of Surrealism as purely “manufactured” in Otoshiana (Pitfall, 1962) and Suna no onna (Woman of the Dunes, 1964), a strange and erotic masterpiece in which an entomologist is trapped into living with a woman who struggles to prevent her home from being consumed by encroaching sand dunes.
11 Buñuel (right) directing Fernando Rey (left) and Silva Pinal in Viridiana. 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).
A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)