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

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

A spouse to Luis Bunuel offers a set of severe readings by means of a number of the greatest movie students that examines and reassesses myriad elements of world-renowned filmmaker Luis Bunuel’s lifestyles, works, and cinematic themes.

  • A selection of serious readings that study and re-evaluate the arguable 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 stories, Surrealism, and theoretical techniques reminiscent of these of Gilles Deleuze
  • Presents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis Bunuel

Content:
Chapter none advent (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 exertions of impact (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 laptop (pages 414–430): Libby Saxton
Chapter 21 the line and the Room (pages 431–453): Marsha Kinder
Chapter 22 On a street 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 old 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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Example text

Then, following his marriage to a pregnant Rucar in a secret civil ceremony so as not to upset either his family or his image as a committed libertarian, 14 Rob Stone and Julián Daniel Gutiérrez-Albilla he stubbornly dedicated himself to crucial efforts at establishing a viable Spanish film industry in his work for the Filmófono company. Between 1934 and 1936 he oversaw the making of four films as producer or “executive director,” which has inspired inconclusive auteurist investigations into La hija de Juan Simón ( Juan Simon’s Daughter, 1935), Don Quintín, el amargao (Don Quintin, the Bitter, 1935), ¿Quién me quiere a mí?

Courtesy of the Filmoteca Española. 16 Filming Le Journal d’une femme de chambre. Courtesy of the Filmoteca Española. 17 Buñuel and Jeanne Moreau on the set of Le Journal d’une femme de chambre. Courtesy of the Filmoteca Española. 18 Jean Sorel, Luis Buñuel, and Catherine Deneuve on the set of Belle de jour. Courtesy of the Filmoteca Española. 19 Michel Piccoli, Catherine Deneuve, and Buñuel filming Belle de jour. Courtesy of the Filmoteca Española. 20 Buñuel directs Catherine Deneuve on the set of Belle de jour.

Although one might assume that the restrictions found in these cultures would have withheld artistic liberty, perhaps, like Joyce, they also sharpened Buñuel’s wits as a profound observer and critic. At the very least, his experience of travel must have made him appreciate picaresque fiction, where modular episodes are unified only by the presence of the central character that is similarly forced to move on continuously from one adventure to the next. Did Buñuel see himself as a pícaro – the rogue or rascal who lives by his wits in corrupt societies?

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