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A Companion to Luis Buñuel by Rob Stone,Julián Daniel Gutiérrez-Albilla Pdf
A Companion to Luis Bunuel presents a collection of critical readings by many of the foremost film scholars that examines and reassesses myriad facets of world-renowned filmmaker Luis Bunuels life, works, and cinematic themes.
A Companion to Luis Buñuel by Rob Stone,Julián Daniel Gutiérrez-Albilla Pdf
A Companion to Luis Buñuel presents a collection of critical readings by many of the foremost film scholars that examines and reassesses myriad facets of world–renowned filmmaker Luis Buñuel’s life, works, and cinematic themes. A collection of critical readings that examine and reassess the controversial filmmaker’s life, works, and cinematic themes Features readings from several of the most highly–regarded experts on the cinema of Buñuel Includes a multidisciplinary range of approaches from experts in film studies, Hispanic studies, Surrealism, and theoretical concepts such as those of Gilles Deleuze Presents a previously unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel
Luis Buñuel (1900-1983) was one of the truly great film-makers of the twentieth century. Shaped by a repressive Jesuit education and a bourgeois family background, he reacted against both, escaped to Paris, and was soon embraced by André Breton's official surrealist group. His early films are his most aggressive and shocking, the slicing of the eyeball in Un Chien andalou (1929) one of the most memorable episodes in the history of cinema. The Forgotten Ones (1950) and He (1952), made in Mexico, were followed, from 1960, in Spain and France, by the films for which he is best known: Viridiana (1961), Belle de jour (1966), Tristana (1970), The Discreet Charm of the Bourgeoisie (1972), and That Obscure Object of Desire (1977). Gwynne Edwards analyses the films in the context of Buñuel's personal obsessions - sex, bourgeois values, and religion - suggesting that the film-maker experienced a degree of sexual inhibition surprising in a surrealist. GWYNNE EDWARDS is Professor of Spanish at the University of Wales, Aberystwyth.
Luis Bunuel was one of the great film-makers of the twentieth century. Gwynne Edwards analyses his work in the context of Bunuel's personal obsessions - sex, bourgeois values and religion.
A Companion to Luis Buñuel by Rob Stone,Julián Daniel Gutiérrez-Albilla Pdf
A Companion to Luis Buñuel presents a collection of critical readings by many of the foremost film scholars that examines and reassesses myriad facets of world-renowned filmmaker Luis Buñuel’s life, works, and cinematic themes. A collection of critical readings that examine and reassess the controversial filmmaker’s life, works, and cinematic themes Features readings from several of the most highly-regarded experts on the cinema of Buñuel Includes a multidisciplinary range of approaches from experts in film studies, Hispanic studies, Surrealism, and theoretical concepts such as those of Gilles Deleuze Presents a previously unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel
Luis Buñuel: A Life in Letters provides access for the first time to an annotated English-language version of around 750 of the most important and most widely relevant of these letters. Buñuel (1900-1983) came to international attention with his first films, Un Chien Andalou (with Dalí, 1929) and L'Âge d'Or (1930): two surprisingly avant-garde productions that established his position as the undisputed master of Surrealist filmmaking. He went on to make 30 full-length features in France, the US and Mexico, and consolidated his international reputation with a Palme d'Or for Viridiana in 1961, and an Academy Award in 1973 for The Discreet Charm of the Bourgeoisie. He corresponded with some of the most famous writers, directors, actors and artists of his generation and the list of these correspondents reads like a roll call of major twentieth-century cultural icons: Fellini, Truffaut, Vigo, Aragon, Dalí, Unik - and yet none of this material has been accessible outside specialist archives and a very small number of publications in Spanish and French.
The French Cinema Book by Michael Temple,Michael Witt Pdf
This thoroughly revised and expanded edition of a key textbook offers an innovative and accessible account of the richness and diversity of French film history and culture from the 1890s to the present day. The contributors, who include leading historians and film scholars, provide an indispensable introduction to key topics and debates in French film history. Each chronological section addresses seven key themes – people, business, technology, forms, representations, spectators and debates, providing an essential overview of the cinema industry, the people who worked in it, including technicians and actors as well as directors, and the culture of cinema going in France from the beginnings of cinema to the contemporary period.
A Companion to Spanish Cinema by Jo Labanyi,Tatjana Pavlović Pdf
A Companion to Spanish Cinema is a bold collection of newly commissioned essays written by top international scholars that thoroughly interrogates Spanish cinema from a variety of thematic, theoretical and historic perspectives. Presents an insightful and provocative collection of newly commissioned essays and original research by top international scholars from a variety of theoretical, disciplinary and geographical perspectives Offers a systematic historical, thematic, and theoretical approach to Spanish cinema, unique in the field Combines a thorough and insightful study of a wide spectrum of topics and issues with in-depth textual analysis of specific films Explores Spanish cinema’s cultural, artistic, industrial, theoretical and commercial contexts pre- and post-1975 and the notion of a “national” cinema Canonical directors and stars are examined alongside understudied directors, screenwriters, editors, and secondary actors Presents original research on image and sound; genre; non-fiction film; institutions, audiences and industry; and relations to other media, as well as a theoretically-driven section designed to stimulate innovative research
Author : Maria M. Delgado,Stephen M. Hart,Randal Johnson Publisher : John Wiley & Sons Page : 560 pages File Size : 43,8 Mb Release : 2017-03-14 Category : Performing Arts ISBN : 9781118557396
A Companion to Latin American Cinema by Maria M. Delgado,Stephen M. Hart,Randal Johnson Pdf
A Companion to Latin American Cinema offers a wide-ranging collection of newly commissioned essays and interviews that explore the ways in which Latin American cinema has established itself on the international film scene in the twenty-first century. Features contributions from international critics, historians, and scholars, along with interviews with acclaimed Latin American film directors Includes essays on the Latin American film industry, as well as the interactions between TV and documentary production with feature film culture Covers several up-and-coming regions of film activity such as nations in Central America Offers novel insights into Latin American cinema based on new methodologies, such as the quantitative approach, and essays contributed by practitioners as well as theorists
Lorca, Bunuel and Dali were, in their respective fields of poetry and theatre, cinema, and painting, three of the most imaginative creative artists of the twentieth century; their impact was felt far beyond the boundaries of their native Spain. But if individually they have been examined by many, their connected lives have rarely been considered. It is these, the ties that bind them, that constitute the subject of this illuminating book. They were born within six years of each other and, as Gwynne Edwards reveals, their childhood circumstances were very similar. Each was affected by a narrow-minded society and an intolerant religious background which equated sex with sin and led all three to experience sexual problems of different kinds: Lorca the guilt and anguish associated with his homosexuality; Bunuel feelings of sexual inhibition; and, Dali virtual impotence. Having met during the 1920s at the Residencia de Estudiantes in Madrid, they developed intense personal relationships and channelled their respective obsessions into the cultural forms then prevalent in Europe, in particular Surrealism. Rooted in emotional turmoil, their work - from Lorca's dramatic characters in search of sexual fulfilment, to Bunuel's frustrated men and women, and Dali's potent images of shame and guilt - is highly autobiographical. Their left-wing outrage directed at bourgeois values and the Catholic Church was strongly felt, and in the case of Lorca in particular, was sharpened by the catastrophic Civil War of 1936-9, during the first months of which he was murdered by Franco's fascists. The war hastened Bunuel's departure to France and Mexico and Dali's to New York. Edwards describes how, for the rest of his life, Bunuel clung to his left-wing ideals and made outstanding films, while the increasingly eccentric and money-obsessed Dali embraced Fascism and the Catholic Church, and saw his art go into rapid decline.
As one of the foremost Spanish directors of all time, Luis Buñuel’s filmography has been the subject of innumerable studies. Despite the fact that the twenty films he made in Mexico between 1947 and 1965 represent the most prolific stage of his career as a filmmaker, these have remained relatively neglected in writing on Buñuel and his work. This book focuses on nine of the director’s films made in Mexico in order to show that a concerted focus on space, an important aspect of the films’ narratives that is often intimated by scholars, yet rarely developed, can unlock new philosophical meaning in this rich body of work. Although in recent years Buñuel’s Mexican films have begun to enjoy a greater presence in criticism on the director, they are often segregated according to their perceived critical value, effectively creating two substrands of work: the independent movies and the studio potboilers. The interdisciplinary approach of this book unites the two, focusing on films such as Los olvidados, Nazarín, and El ángel exterminador alongside La Mort en ce jardin, The Young One, and Simón del desierto, among others. In doing so, it avoids the tropes most often associated with Buñuel’s cinema—surrealism, Catholicism, the derision of the bourgeoisie—and the approach most often invoked in analysis of these themes: psychoanalysis. Instead, this book takes inspiration from the fields of human geography, anthropology, and philosophy, applying these to film-focused readings of Buñuel’s Mexican cinema to argue that ultimately these films depict an overriding sense of placelessness, overtly or subliminally enacting a search for belonging that forces the viewer to question what it means to be in place.
