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A significant other to Luis Buñuel offers a set of serious readings by way of a number of the premiere movie students that examines and reassesses myriad aspects of world-renowned filmmaker Luis Buñuel’s existence, works, and cinematic subject matters.

• a suite of severe readings that research and re-examine 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
• features a multidisciplinary diversity of ways from specialists in movie stories, Hispanic stories, Surrealism, and theoretical innovations equivalent 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• offers a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel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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Themselves in any form of ­coherent opposition. From this perspective, by the 1960s, Buñuel’s cinema already points to an ambivalent, if not productive, tension between the use of a grand narrative that is the product of modernity, namely Surrealism, and the consciousness of the impossibility of the grand narratives or metanarratives to account for all the dilemmas of human understanding. Indeed, this will be the crucial concern for postmodern thinkers and artists in the subsequent decade when in 1979 Jean-François Lyotard writes his seminal ­ book, La ­condition postmoderne: rapport sur le savoir (The Postmodern Condition: A Rapport on Knowledge).

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). However, whereas Buñuel was to some extent a Classical or Romantic filmmaker, Godard and von Trier are ­defiant, belligerent Modernists. Buñuel uses the conventions of film form and turns them against the audiences that they are intended to satisfy and entertain in narratives that offer a pretend veneer of seeming normality, but which are punctured by eccentricities, obsessions, and perversions, whereas Godard and von Trier are Modernists who expose the workings of the machine by criticizing and consciously eroding film form itself, with von Trier disabling it with his Dogme ’95 manifesto and Godard ending Week-End with a title-card proclaiming not the end of the film but the end of cinema – “fin du cinéma” – too.

Buñuel is perplexed by this notional plot of El ángel exterminador: “But why can’t they leave? ” “Don’t worry,” Allen has Gil respond, “you’ll get it. ” If imitation is the sincerest form of flattery, then Allen stealing and giving back this idea as his own is a heartfelt and humorous monument to a filmmaker who would surely have ­relished the joke. 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.

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