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

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

ISBN-10: 1118324889

ISBN-13: 9781118324882

ISBN-10: 1444336339

ISBN-13: 9781444336337

A spouse to Luis Bunuel provides a suite of serious readings via the various most well known movie students that examines and reassesses myriad aspects of world-renowned filmmaker Luis Bunuel’s existence, works, and cinematic themes.

  • A choice of severe readings that study 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 methods from specialists in movie experiences, Hispanic stories, Surrealism, and theoretical ideas akin to these of Gilles Deleuze
  • Presents a formerly unpublished interview with Luis Bunuel’s son, Juan Luis Bunuel

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 strategy 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 desert (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 computing device (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 historic 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

Example text

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).

As such, instead of fixing meanings, Buñuel’s cinema always means something different to different constituencies. In other words, the concept of intertextuality allows us to reconsider Buñuel’s cinema as always being, or becoming, in excess of the closure of interpretation and representation, always creating new representational spaces and interpretative positions that enable transversal, flexible cultural practices and critical readings that emerge and disappear endlessly through space and time.

27 Buñuel at home in Mexico City. Courtesy of the Filmoteca Española. And in the Spring The importance of Buñuel is in flux. Celebrations, honorary conferences, screenings, and inaugurations worldwide have attempted to claim him and his films as the property of various museums, critical theories, or social movements. He would have resisted them all; and yet his films can still be revisited in compelling and innovative ways, as the chapters that follow demonstrate. Indeed, they arguably signify the unjust appropriation of the man by the respectable elements of society; for, in response, this volume has the aim of making him disrespectful and irreverent once again, thereby returning to the uncompromising nature of Surrealism that moves in the direction of being incorporated into pre-established critical models and into the establishment and yet, in a more compelling fashion, veers in the direction of a non-assimilated space that is associated with an ongoing questioning of our human existence and subversion of hegemonic ideological positions.

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

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