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