A Companion to Luis Buñuel (Monografías A)
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Luis BuÃ±uel (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 AndrÃ© 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). BR> Gwynne Edwards analyses the films in the context of BuÃ±uel's personal obsessions - sex, bourgeois values, and religion - suggesting that the film-maker experienced a degree of sexual inhibition surprising in a surrealist.
deliberately absurd, tragic, disturbing, and precious Un chien andalou, an 18-minute two-reeler, funded by his mother, that redefined cinema. Un chien andalou is nonsense played out as a series of threatened and threatening glances – double takes in search of an absent punch line (Figure 0.6). The scandalous success of Un chien andalou led directly to Buñuel being both celebrated and chastised by the Surrealists, for his film embodied their ideas of revolutionary art at the same time as its
intervenes, art can have a social impact that answers to the political. But this impact is not bound to realism, documentary, or other well-worn categorical features. Whether or not Buñuel researched the situation of abandoned street children in Mexico City first-hand, the film is so replete with symbolically charged moments that its fictionality flies in the face of the documentary claim. Here, I am more interested in the insistence with which the claim is made than in its “truth.” Even the (for
opposed to – our emotional life, the life of our fantasies and dreams” (Bettelheim, 1985: 71). As a result of such a rendering, Bettelheim laments how readers of this English translation do not get an understanding of the soul whose nebulous regions Freud was charting. Bettelheim’s emphasis on Freud’s psychoanalytic introspection, rather than on outward observation, permits him to differentiate between Freud’s approach and psychological research and teaching that are behaviorally, cognitively,
Art in Cinema. San Francisco, CA: San Francisco Museum of Art. Williams, L. (1996) The critical grasp: Buñuelian cinema and its critics. In R.E. Kuenzli (ed.), Dada and Surrealist Film. Cambridge, MA: MIT Press, pp. 199–206. 6 Fixed-Explosive Buñuel’s Surrealist Time-Image Ramona Fotiade The five decades that separate the making of Un chien andalou (An Andalusian Dog, 1929) from the premiere of Cet obscur objet du désir (That Obscure Object of Desire, 1977) are not lacking in emphatic
andalou (An Andalusian Dog, 1929). During mid-November 1929, they proposed to Buñuel and Salvador Dalí that they would finance the sequel. Originally, it was to going to be called La Bête andalouse (An Andalusian Beast), a title that was probably based on Henry Miller’s suggestion to Buñuel in a lengthy letter, where he stated his endless admiration for the debut short film, even though he would have preferred the title Une chienne andalouse. The Noailles’ proposal took it as given that the