A Companion to Luis Buñuel (Wiley-Blackwell Companions to

A spouse to Luis Buñuel provides a set of serious readings via some of the top-rated movie students that examines and reassesses myriad aspects of world-renowned filmmaker Luis Buñuel’s lifestyles, works, and cinematic topics.

• a suite of serious readings that research and think again the arguable filmmaker’s lifestyles, works, and cinematic themes
• good points readings from numerous of the main highly-regarded specialists at the cinema of Buñuel
• features a multidisciplinary variety of techniques from specialists in movie stories, Hispanic stories, Surrealism, and theoretical techniques equivalent to 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• provides a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel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)

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In relation to Eastern European cinema in general, Joanna Rydzewska has written of Surrealism as a signifier of exile into another reality, although the direct influence of Buñuel is refracted through the work of other filmmakers such as Walerian Borowczyk, Jan Lenica, and Jan Švankmajer (Rydzewska, 2012). However, direct references to Buñuel also punctuate the films of Borowczyk, Jerzy Skolimowski, and Polanski, including Borowczyk’s image of Ewa lying on a bed in Dzieje grzechu (The Story of Sin, 1975), which is a straight quotation from Viridiana that points to these films’ shared exploration of sin, and the prostitute’s leg in a cast in Skolimowski’s Deep End (1970), which is ­fetishized like that of Tristana.

Discretion and Desire In the influence of Surrealism on anarchists in general and the Situationist International movement in particular, Buñuel was relevant to the riots in Paris and elsewhere in 1968, which, in turn, reoriented him away from the bourgeois lifestyle that was close to claiming him. 23 Buñuel directs Catherine Deneuve in Tristana. Courtesy of the Filmoteca Española. 24). Nevertheless, Buñuel settled into his seventies as a frequent inhabitant of Paris, the city that had once sponsored his apprenticeship and entry into the world of ­f ilmmaking and, as previously discussed, the surrealist movement led by Breton.

Thus, although the golden age of Mexican ­cinema was ending, Buñuel entered the 1960s at the forefront of World cinema, a position that he and his films would occupy for the rest of his years. 9 Buñuel with the dwarf and cinematographer Gabriel Figueroa filming Nazarín. Courtesy of the Filmoteca Española. 10 Filming Viridiana. Courtesy of the Filmoteca Española. 11 Buñuel (right) directing Fernando Rey (left) and Silva Pinal in Viridiana. Courtesy of the Filmoteca Española. 12 Buñuel directing Silvia Pinal in Viridiana.

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