A better half to Luis Buñuel offers a suite of serious readings via a few of the most well known movie students that examines and reassesses myriad points of world-renowned filmmaker Luis Buñuel’s lifestyles, works, and cinematic topics.
• a set of serious readings that study and re-examine the arguable filmmaker’s existence, works, and cinematic themes
• good points readings from numerous of the main highly-regarded specialists at the cinema of Buñuel
• encompasses a multidisciplinary variety of techniques from specialists in movie experiences, Hispanic reports, Surrealism, and theoretical thoughts resembling these of Gilles Deleuze
• provides a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel
Read or Download A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors) PDF
Similar film books
Flourishing within the usa in the course of the Nineteen Forties and 50s, the grim, violent style of filmmaking often called movie noir mirrored the attitudes of writers and auteur administrators encouraged through the occasions of the turbulent mid-twentieth century. movies reminiscent of strength of Evil, evening and town, Double Indemnity, Laura, the massive warmth, The Killers, Kiss Me lethal and, extra lately, Chinatown and The Grifters are indelibly American.
L’adaptation cinématographique des œuvres littéraires soulève des questions d’ordre approach et esthétique.
Mais c’est aussi une opération qui, au gré de succès et d’échecs variés, demeure problématique. S’appuyant sur los angeles inspiration de travail, l’auteur interroge ce qui purpose, dynamise ou contraint et limite les auteurs d’adaptation.
L’adaptation sera donc envisagée comme vol ou détournement d’œuvre, puis comme jeu et comme tremplin pour los angeles rêverie des cinéastes, enfin comme travail des formes cinématographiques et littéraires, lieu de rencontres parfois conflictuelles mais souvent fécondes entre cinéma et littérature.
De nombreux exemples approfondissent ces questionnements, de l’Amérique recréée de J. Ford avec Cooper et Twain aux espaces cinématographiques de Kubrick ou Bertolucci ou aux fi délités/infidélités de Chabrol et Leconte à Simenon…
Francis VANOYE est professeur émérite de l’Université de Paris-Ouest-Nanterre-La Défense. Il est l’auteur de Récit écrit – Récit filmique, Scénarios modèles – Modèles de scénarios, L’Emprise du cinéma, ainsi que, en collaboration, d’un Précis d’analyse filmique et d’un Dictionnaire de l’image.
Jonathan Rosenbaum, longtime contributor to such guides as movie Quarterly, Sight and Sound, and The Village Voice, is arguably the main eloquent, insightful movie critic writing in the USA this present day. putting video clips, the 1st selection of his paintings, gathers jointly thirty of his so much particular and illuminating items.
Movie Noir: From Fritz Lang to struggle membership explores the murky global of a style answerable for a lot of film's so much enduring photographs. Mark Bould discusses difficulties of definition and the usually ambiguous nature of movie noir and appears at sleek movies that may be referred to as neo-noir. Iconic and enduring, movie noir attracted nice stars (Bogart, Bacall, Mitchum, Lancaster), a number of the most sensible administrators of the period (Wilder, Lang, Preminger, Hawks, Siodmak, Welles) and this publication is an indispensible advisor to this renowned style.
- Orson Welles: Six Films Analyzed, Scene by Scene
- Film in the Post-Media Age
- Archival Storytelling: A Filmmaker's Guide to Finding, Using, and Licensing Third-Party Visuals and Music
- Working with Disney: Interviews with Animators, Producers, and Artists
- Frank Capra: The Catastrophe of Success
Extra resources for A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)
Suffice, perhaps, to note that after witnessing L’Âge d’or avowed fan Henry Miller proclaimed that “they should take Buñuel and crucify him, or at least burn him at the stake. He deserves the greatest reward that man can bestow upon man” 30 Rob Stone and Julián Daniel Gutiérrez-Albilla (Grant, 2000). Even so, the growing influence of Buñuel’s films on other filmmakers is both immense and vague, perhaps more inspirational in deed and singularity of vision than in any directly imitative or allusive manner.
Had he remained in Spain and suffered the church-backed dictatorship of Franco he might never have encountered the training, liberty, and patronage that he did in Mexico and France. Nevertheless, exile is such a common theme in his films and in the academic analyses they inspire that the nature of the outsider’s gaze that determines the viewpoint of his films is worth a cautious, initial investigation. In Reflections on Exile, Said famously described exile as “the unhealable rift forced between a human being and a native place, between the self and its true home” (2000: 173), and he surmised that “its essential sadness can never be surmounted” (2000: 173).
Lynch’s Eraserhead (1977) is the film that has come closest to replicating the tone and mood of a nightmare since Un chien andalou, but Lynch is less atheistic and more a hopeful believer in the power of transcendence, whose films still rework innately conservative genres in perverse ways. He pays explicit homage to Buñuel’s doubling of his protagonists in Cet obscur objet du désir with Lost Highway (1997) in which Patricia Arquette plays the twin roles of a man’s wife and his lover, while Mulholland Drive (2001) also engages in the mischievous doubling of characters and sees alternate worlds in a mysterious box that recalls that of Un chien andalou, Belle de jour, and, in its noirish overtones, the equally Buñuelian glowing briefcase in Robert Aldrich’s Kiss Me Deadly (1955), which subsequently reappears in Quentin Tarantino’s Pulp Fiction (1994).