A Companion to Luis Buñuel (Wiley-Blackwell Companions to

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

• a suite of severe readings that learn and reconsider the debatable filmmaker’s lifestyles, works, and cinematic themes
• positive factors readings from a number of 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
• offers a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel

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In his conclusion, he states: Introduction 17 Most people are principally aware of one culture, one setting, one home; exiles are aware of at least two, and this plurality of vision gives rise to an awareness of simultaneous dimensions, an awareness that – to borrow a phrase from music – is contrapuntal. (2000: 186) To what extent is contrapuntal awareness something different from exile and nomadism? Instead of a single view of home from a distant homeland, with all its attendant melancholy, resentment, or longing, what of the more complex dual viewpoint – this contrapuntal to-ing and fro-ing of the dislocated – and how it might be rendered in aesthetic terms?

15 Buñuel directing Jeanne Moreau in Le Journal d’une femme de chambre. Courtesy of the Filmoteca Española. 16 Filming Le Journal d’une femme de chambre. Courtesy of the Filmoteca Española. 17 Buñuel and Jeanne Moreau on the set of Le Journal d’une femme de chambre. Courtesy of the Filmoteca Española. 18 Jean Sorel, Luis Buñuel, and Catherine Deneuve on the set of Belle de jour. Courtesy of the Filmoteca Española. 19 Michel Piccoli, Catherine Deneuve, and Buñuel filming Belle de jour. Courtesy of the Filmoteca Española.

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. As Deleuze contends: It is as if Buñuel’s naturalist cosmology, based on the cycle and the succession of cycles, gives way to a plurality of simultaneous worlds; to a simultaneity of presents in different worlds.

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