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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• provides a formerly unpublished interview with Luis Buñuel’s son, Juan Luis Buñuel

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Extra resources for A Companion to Luis Buñuel (Wiley-Blackwell Companions to Film Directors)

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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).

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