A spouse to Luis Buñuel provides a suite of serious readings by way of some of the optimum movie students that examines and reassesses myriad points of world-renowned filmmaker Luis Buñuel’s lifestyles, works, and cinematic topics.
• a suite of severe readings that research and re-evaluate the arguable 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
• features a multidisciplinary variety of ways from specialists in movie experiences, Hispanic experiences, Surrealism, and theoretical recommendations resembling these of Gilles Deleuze
• provides a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel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)
Foremost amongst Eastern European filmmakers of a surrealist ilk, however, is the Czech animator Švankmajer, who, unlike Buñuel, actually realized his vision for a film of Edgar Allan Poe’s The Fall of the House of Usher entitled Zánik domu Usherů (1981). “Like Buñuel, he was confronted by a totalitarian regime whose political and social manifestations were often ‘surreal’” (Uhde, 2006: 63). Švankmajer’s numerous Introduction 31 shorts and few feature-length films are made with stop-motion animation that includes the manipulation of human f igures in order to satirize the totalitarianism that so completely controlled the citizens of Prague and Czechoslovakia prior to the Velvet Revolution.
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. Courtesy of the Filmoteca Española. 21 Buñuel’s cameo appearance in Belle de jour.
In addition, analysis of the work of David Cronenberg, who essayed Freud in A Dangerous Method (2011), produces enough proof of body-horror and psychological upset to fuel a comparative thesis. Other recent American films brandishing Buñuelian conceits include Groundhog Day (Harold Ramis, 1993), in which weatherman Phil (Bill Murray) is trapped in the horror of an ordinary day that endlessly repeats itself in the manner or Buñuel’s Crusoe, shipwrecked in time as well as space, for whom every day is the same as the one before it, and the nihilist and Nietzschean Fight Club (David Fincher, 1999), in which man and superman meet and compete inside the twisted psyche of 34 Rob Stone and Julián Daniel Gutiérrez-Albilla an office drudge.