A Companion to Luis Buñuel	5
	Copyright	6
	Contents	7
	Contributors	10
	Acknowledgments	20
	Introduction	21
	An Aragonese Dog	26
	A Golden Age	31
	The Forgotten One	34
	Strange Passions	38
	An Exterminating Angel	43
	Discretion and Desire	55
	And in the Spring	60
	Note	75
	References	75
	Part One An Aragonese Dog	79
	1 Interview with Juan Luis Buñuel	81
	2 Luis Buñuel and the Politics of Self-Presentation	99
	Early Days	100
	The Man with the Knife: Un chien andalou	100
	Assault and Retreat: L’Âge d’or (The Golden Age, 1930)	101
	Selling Out and Signing Up: Las Hurdes, aka Tierra sin pan (Land without Bread, 1933/1936)	102
	“Buñuel Is Dead”: The United States	103
	Hard Times and Potboilers: Mexico	104
	Return to Self: Los olvidados	105
	A Hot Time: Viridiana	106
	Staying Afloat: Publicity	109
	The Oscar	111
	Versions of Self	112
	Playing Buñuel	113
	Long Interviews: No Peeking	113
	Telling It Like It Should Be: My Last Sigh	114
	Notes	116
	References	116
	3 Buñuel, Master Pyrotechnician: The Role of Firearms in His Cinema	118
	Introduction: A Passion for Firearms	118
	Buñuel Opens Fire: The Six-Gun Mystique and Western Parody in Un chien andalou	122
	L’Âge d’or: Parodic Pyrotechnics and Erotic Pulverization	125
	Notes	132
	References	134
	4 Buñuel’s Critique of Nationalism: A Migratory Aesthetic?	136
	Displacement, Misplacement	137
	Migratory Aesthetics as a Cultural Politic	140
	Sound Out of Place	145
	Real, Right, True	148
	Transnationalism versus Migratory Aesthetics	151
	Notes	154
	References	156
	Part Two A Golden Age	159
	5 Surreal Souls: Un chien andalou and Early French Film Theory	161
	The Soul in the 1920s Avant-Garde in France	162
	Surrealism and Un chien andalou	167
	Notes	173
	References	174
	6 Fixed-Explosive: Buñuel’s Surrealist Time-Image	176
	Notes	190
	References	191
	7 L’Âge d’or	192
	Historical Context	192
	Structure	196
	Themes and Techniques	202
	References	206
	8 Buñuel Entomographer: From Las Hurdes to Robinson Crusoe	208
	Notes	219
	References	220
	Part Three The Forgotten One	223
	9 The Complicit Eye: Directorial and Ocular Paradigms in Luis Buñuel’s Mexican Films and Interdisciplinary Visuality (1940s and 1950s)	225
	Terrains of the “Ojosauro”	225
	The Unwholesome Eye and Visual Mediations	230
	Cross-cuttings of the Eye in Art and Cinematography	235
	The Last Arena	239
	Notes	242
	References	243
	10 Out of Place, Out of Synch: Errant Movement and Rhythm in Buñuel’s Mexican Comedies	246
	Conclusion	258
	Notes	258
	References	258
	11 Susana: Melodrama and the Voluptuosity of Destruction	260
	Notes	273
	References	274
	12 Young Outlaws and Marginal Lives in Latin American Cinema: The Landmark of Buñuel’s Los olvidados	275
	Introduction	275
	The Lesson of the Master	278
	Los olvidados: A Classic	281
	Conclusion	290
	Notes	291
	References	294
	Part Four Strange Passions	297
	13 The Creative Process of Robinson Crusoe: Exile, Loneliness, and Humanism	299
	The Origins of an Assignment with Potential	299
	Buñuel and the Blacklist: Writing the Script	301
	The Shooting and the Script: Nature, Specters, and Instincts	306
	The Rewriting of the Script during Editing and Dubbing	312
	The Film’s Release and Reception	317
	Notes	319
	References	320
	14 The Cinematic Labor of Affect: Urbanity and Sentimental Education in El bruto and Ensayo de un crimen	322
	Learning Urbanity	323
	Cinema and the Capture of Affect	326
	Taming the Brute	327
	Space, Family, and Genre	328
	Of Crime, Musical Boxes, and Film Reels	332
	Unheard-of Becomings	336
	Notes	340
	References	341
	15 Stars in the Wilderness: La Mort en ce jardin	344
	Exiles in Eden	347
	Signoret, Piccoli, Marchal: Transnational Transformations?	349
	Notes	358
	References	358
	16 Transitional Triptych: The Traps of International Cinemas in Buñuel’s Cela s’appelle l’aurore, La Mort en ce jardin, and La Fièvre monte à El Pao	360
	Cela s’appelle l’aurore	361
	La Mort en ce jardin	369
	La Fièvre monte à El Pao	375
	Conclusion	379
	Note	381
	References	381
	17 Buñuel Goes Medieval: From Sewing to Cervantes and the Vagina Dentata	382
	Notes	393
	References	395
	Part Five An Exterminating Angel	399
	18 The Galdós Intertext in Viridiana	401
	Buñuel and Literary Adaptations	402
	Buñuel and Galdós: Mutual Illumination	404
	Galdós Adaptations in Spanish Cinema: Lost Opportunities	412
	Notes	415
	References	416
	19 Spectral Cinema: Le Journal d’une femme de chambre	419
	Notes	432
	References	433
	20 Between God and the Machine: Buñuel’s Cine-Miracles	434
	Miracles between Religion and Science	435
	The Saint as Cineaste: Simón del desierto	438
	Prodigious Travel: La Voie lactée	444
	Notes	448
	References	449
	21 The Road and the Room: Narrative Drive in the Films of Luis Buñuel	451
	On the Road and in the Room	451
	The Way In and the Way Out: Un chien andalou and L’Âge d’or	455
	Insiders and Outsiders: The Transnational Remix in Las Hurdes and Los olvidados	457
	Narrative Vehicles in Mexican Road Movies	459
	Internalizing the Narrative Vehicle and Eroticizing the Room: From Él to Belle de jour	461
	Going on a Pilgrimage or Holding Your Sacred Ground	463
	The Final Radical Remix: Le Fantôme de la liberté and Cet obscur objet du désir	466
	Those Obscure Dynamics of Desire	469
	References	472
	Part Six Discretion and Desire	475
	22 On a Road to Nowhere: Parodic Movement as Time-Image in La Voie lactée and Le Charme discret de la bourgeoisie	477
	Notes	495
	References	497
	23 The Intertextual Presence of Lewis Carroll’s Alice in Belle de jour	499
	Notes	511
	References	512
	24 Splitting Doubles: Ángela Molina and the Art of Screen Actingin Cet obscur objet du désir	514
	Ángela Molina’s First Appearance: Conchita in Mathieu’s Bedroom	516
	Conchita at Home	518
	Conchita. Not the End	520
	Interview with Ángela Molina, held in Madrid, February 19, 2011	522
	Notes	528
	References	528
	25 Buñuel and Historical Reason	529
	Notes	535
	References	536
	26 Through a Fractal Lens: New Perspectives on the Narratives of Luis Buñuel	538
	Fractal Films	540
	Techniques	543
	Parallel Realities and Schrödinger’s cat	550
	Notes	552
	References	553
	Part Seven And in the Spring	555
	27 Mutilation, Misogyny, and Murder: Surrealist Violence or Torture Porn?	557
	Notes	570
	References	572
	28 Inside/Outside: Space and Sexual Behavior in Belle de jour and La Pianiste	574
	Don’t Box Me In: Confining Interior Space	576
	Wanting Out: Desire for Sexual Perversion as a Means of Release	579
	Go and Play Outside: Outside Space, Sexual Perversion, and Freedom	582
	Inside and Outside: The Transition to Outside Space	585
	Reclaiming Space: Belle de jour, La Pianiste, and Henri Lefebvre	587
	Conclusion	589
	Note	590
	References	590
	29 Surrealist Legacies: The Influence of Luis Buñuel’s “Irrationality” on Hiroshi Teshigahara’s “Documentary-fantasy”	592
	Fredric Jameson’s Cinematic Magic Realism	593
	Art-historical and Literary Roots of Magic Realism: An International Mode	595
	Los olvidados: Buñuel’s Latin American Marvelous	597
	Indigenous Japanese Modernism: Otoshiana and the Struggle for Survival	600
	Marvelous Hybridity: A Composite Avant-Garde Response to Late Capitalism	606
	References	608
	30 Luis Buñuel’s Angel and Maya Deren’s Meshes: Trance and the Cultural Imaginary	610
	Two Exiles	611
	Repetition as Structure	616
	Attacking Visual Space	620
	A Communal Nightmare	623
	Angel of History	625
	References	627
	Filmography	628
	Index	644