A significant other to Luis Buñuel provides a suite of serious readings by means of some of the most excellent movie students that examines and reassesses myriad elements of world-renowned filmmaker Luis Buñuel’s existence, works, and cinematic topics.
• a set of serious readings that study and re-evaluate the arguable filmmaker’s existence, works, and cinematic themes
• beneficial properties readings from numerous of the main highly-regarded specialists at the cinema of Buñuel
• incorporates a multidisciplinary variety of techniques from specialists in movie reviews, Hispanic reviews, Surrealism, and theoretical suggestions equivalent to these of Gilles Deleuze
• offers a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel
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Extra resources for A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)
At the very least, Buñuel’s severe criticism of nationalism included his rebuke of the nationalist rhetoric inherent in Mexican cinema at the time of his stay in Mexico. Many critics in this volume and elsewhere have written and spoken on this aspect of Buñuel’s work: that much like Roman Polanski and Andrei Tarkovsky it was exile that made him the filmmaker that he was. The Russian theorist Mikhail Bakhtin claims that “consciousness awakens to independent ideological life precisely in a world of alien discourses surrounding it” (1981: 360) but when did this happen for Buñuel, if ever?
16 Rob Stone and Julián Daniel Gutiérrez-Albilla dead-end streets of what Buñuel identified as the lack of poetry in neorealism and consequently signaled the way for New Latin American Cinema. Los olvidados won the award for best director and the International Critics’ prize in Cannes in 1951. It is in this period that Buñuel developed his directorial vision and his method of filming that was allied to the evolution of his ideology, his philosophy, and his sense of humor. It was in Mexico that he immersed himself in the process of becoming great, learning his craft, earning his keep, and practicing the expression of his singular vision.
Godard’s attack on the priorities of the French middle class tallies with the same atheist, existentialist Marxism that has been identified in many of the films of Buñuel and more recently in those of Lars von Trier, such as Idioterne (The Idiots, 1998). However, whereas Buñuel was to some extent a Classical or Romantic filmmaker, Godard and von Trier are defiant, belligerent Modernists. Buñuel uses the conventions of film form and turns them against the audiences that they are intended to satisfy and entertain in narratives that offer a pretend veneer of seeming normality, but which are punctured by eccentricities, obsessions, and perversions, whereas Godard and von Trier are Modernists who expose the workings of the machine by criticizing and consciously eroding film form itself, with von Trier disabling it with his Dogme ’95 manifesto and Godard ending Week-End with a title-card proclaiming not the end of the film but the end of cinema – “fin du cinéma” – too.
A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)