A better half to Luis Buñuel provides a set of serious readings via a few of the finest movie students that examines and reassesses myriad features of world-renowned filmmaker Luis Buñuel’s existence, works, and cinematic subject matters.
• a set of serious readings that learn and reconsider the debatable filmmaker’s existence, works, and cinematic themes
• beneficial properties readings from a number of of the main highly-regarded specialists at the cinema of Buñuel
• encompasses a multidisciplinary variety of techniques from specialists in movie reports, Hispanic reports, Surrealism, and theoretical ideas akin to these of Gilles Deleuze
• offers a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel
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Additional info for A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)
He sat down on the other side of me, and, one arm around my shoulders, he proceeded to talk nonstop about his wine cellar, his diet, and the amputated leg in Tristana. “Ah, that leg … that leg,” he sighed, more than once. (1982: 195) Introduction 33 Peter Wollen describes Hitchcock, who had worked in Berlin in the 1920s and was explicitly influenced by German Expressionist cinema, as a “closet Surrealist” (1977: 17), whose appropriation of themes beloved of the Surrealists, such as voyeuristic obsession in Rear Window (1954), l’amour fou in Vertigo (1958) in which Saul Bass’s celebrated credit sequence during which the film’s title cuts across a woman’s eye recalls Un chien andalou (see Evans and Santaolalla, 2004: 1–2), paranoia in North by Northwest (1959) and insanity in Psycho (1960), could be deciphered by reference to a Freudian-tainted iconography of color, water, blondes, and a boy’s best friend, his mother.
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? As described, after his formation in France, his first solo effort as a director and his first film made in Spain was Las Hurdes, with which he brought the surrealist aesthetic home. But is the surrealist aesthetic based on an awakening consciousness from which the imagination emanates enriched enough to justify the claim of a contrapuntal awareness in the making of this and other films?
In the amiable comedy of manners and time shifts that is Allen’s Midnight in Paris (2011), Allen’s alter ego Gil (Owen Wilson) is a well-to-do “Hollywood hack who never gave real literature a shot” holidaying in Paris, whose midnight rendezvous with an antique taxi transports him back to the 1920s and encounters with Ernest Hemingway, Gertrude Stein, Dalí, and, of course, Buñuel. Once over his astonishment, Gil is not beyond vainly exploiting those he meets, haggling over prices for newly painted masterpieces and confounding Buñuel (Adrien de Van) with “his” idea for a film about guests at a dinner party who cannot leave a room.
A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)