A significant other to Luis Buñuel provides a suite of serious readings via a few of the most appropriate movie students that examines and reassesses myriad elements of world-renowned filmmaker Luis Buñuel’s existence, works, and cinematic topics.

• a suite of serious readings that research and think again the arguable filmmaker’s existence, works, and cinematic themes
• positive aspects 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 reviews, Hispanic reviews, Surrealism, and theoretical techniques similar to these of Gilles Deleuze
• offers a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel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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Contrapuntal awareness sees the artist or writer becoming in effect his/her own reflection, looking back at himself/herself in both directions, which perhaps, as Said suggests, may be calculated to kick-start creativity. Although one might assume that the restrictions found in these cultures would have withheld artistic liberty, perhaps, like Joyce, they also sharpened Buñuel’s wits as a profound observer and critic. At the very least, his experience of travel must have made him appreciate picaresque fiction, where modular episodes are unified only by the presence of the central character that is similarly forced to move on continuously from one adventure to the next.

The films of Godard provide numerous moments of potentially surrealist subversive disruptions, whether playfully incongruous as in Une femme est une femme (A Woman Is a Woman, 1963) or furiously satirical as in Week-End (Weekend, 1968) in which a middle-class couple’s attempts to leave Paris are stymied by an excruciating, tenminute sequence of a traffic jam that ends with the frustrated couple accelerating past the eventual reveal of a gruesome accident. Godard’s attack on the priorities of the French middle class tallies with the same atheist, existentialist Marxism that has been identified in many of the films of Buñuel and more recently in those of Lars von Trier, such as Idioterne (The Idiots, 1998).

This left Buñuel’s audience in a state of constant uncertainty and unable to reach any difference in the cycle that might save them, unlike the aforementioned exception of Robinson Crusoe, who did. Moreover, it is in this last period of creativity from Buñuel that Deleuze, following Jean-Claude Bonnet, notes a change in the regime of dream or fantasy in his films that is “less a question of a state of the imaginary than of a deepening of the problem of time” (Deleuze, 2005b: 99). Thus, the deployment of two very different actresses (Carole Bouquet and Introduction 39 Ángela Molina) to play the same role in Cet obscur objet du désir is not a jape or a fantasy but a fact.

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