A spouse to Luis Buñuel provides a set of severe readings through a number of the greatest movie students that examines and reassesses myriad features of world-renowned filmmaker Luis Buñuel’s existence, works, and cinematic subject matters.
• a set of severe readings that study and re-examine the arguable filmmaker’s existence, works, and cinematic themes
• good points readings from a number of of the main highly-regarded specialists at the cinema of Buñuel
• encompasses a multidisciplinary diversity of methods from specialists in movie reports, Hispanic stories, Surrealism, and theoretical recommendations reminiscent of these of Gilles Deleuze
• offers a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel
Read or Download A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors) PDF
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Additional resources for A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)
9). Concurrently, La Fièvre monte à El Pao (Fever Mounts at El Pao, 1960) and the English-language The Young One (1960), based on a short story by the American novelist Peter Mathieson, revealed his social concerns and the fact that his pronounced anti-clericalism hid a respect for patient, earthly penance. Inevitably, this growing political commitment turned his thoughts back to Spain and the ruling Francoist dictatorship, a regime which had censored free thought and expression and consequently stifled all attempts at dissident cinema.
Said examines the literature of exile and condemns its trivialization of the condition, although he does find cause for celebration in the condition or act of seeing the entire world as a foreign land, which makes possible, or so he claims, originality of vision. In his conclusion, he states: Introduction 17 Most people are principally aware of one culture, one setting, one home; exiles are aware of at least two, and this plurality of vision gives rise to an awareness of simultaneous dimensions, an awareness that – to borrow a phrase from music – is contrapuntal.
Decorum and etiquette. 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).