By Rob Stone, Julian Daniel Gutierrez?Albilla(auth.)
A significant other to Luis Bunuel provides a set of severe readings by way of a number of the most desirable movie students that examines and reassesses myriad points of world-renowned filmmaker Luis Bunuel’s lifestyles, works, and cinematic themes.
- A selection of severe readings that learn and re-examine the debatable filmmaker’s existence, 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 resembling these of Gilles Deleuze
- Presents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis Bunuel
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 inventive 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 wasteland (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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Extra resources for A Companion to Luis Bunuel
7). These include the mocking of authority, satire, elegant japes and practical jokes, playful irreverence, and the serene and graceful narratives that are ruptured by transgressive images and sparked by witty subversion. As Ernesto Acevedo-Muñoz states, these films also “upset our image of Buñuel as the European surrealist phenomenon who was always ill-at-ease within a national film industry” (2003: 24). The first of these was Gran casino, aka En el viejo Tampico (Magnificent Casino, 1946), a vehicle for Jorge Negrete and Libertad Lamarque that was produced by Oscar Dancigers, for whom he later directed El gran calavera (The Great Madcap, 1949).
Yet, the influence of Buñuel is not always represented by nightmare, for there are also the episodic, dreamlike Introduction 35 films of the Swede Roy Andersson, whose Songs from the Second Floor (2000) and You, the Living (2007) are unreal, unworldly and unlike anything else in World cinema, except, of course, the films of Buñuel. And there is his influence on Japanese cinema too, where critics and satirists of the rigid, hierarchical society there discovered common ground in the rebellion against social strictures in the films of Buñuel.
As dual nationality was not possible, he relinquished his Spanish passport and acquired Mexican nationality in 1949. Undeterred from a Introduction 15 career in film, he began to progress through the flourishing Mexican film industry and made 20 of his 36 films in Mexico, most of which are known as películas alimenticias (fodder or bread-and-butter films). 7). These include the mocking of authority, satire, elegant japes and practical jokes, playful irreverence, and the serene and graceful narratives that are ruptured by transgressive images and sparked by witty subversion.