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Met talrijke foto's geïllustreerde studie over leven en films van de Spaanse filmregisseur (geb. 1900) en een korte bloemlezing van surrealistische en andere literaire teksten van hem.

Buñuel, Luis --- #SBIB:309H1323 --- Films met een amusementsfunctie en/of esthetische functie: auteurs --- Buñuel, Luis, --- Criticism and interpretation. --- Buñuel, Luis --- Buñuel, Louis, --- Buñuel Portolés, Luis, --- Portolés, Luis Buñuel --- Portolés, Luics Buñuel,

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As one of the foremost Spanish directors of all time, Luis Buñuel's filmography has been the subject of innumerable studies. Despite the fact that the twenty films he made in Mexico between 1947 and 1965 represent the most prolific stage of his career as a filmmaker, these have remained relatively neglected in writing on Buñuel and his work. This book focuses on nine of the director's films made in Mexico in order to show that a concerted focus on space, an important aspect of the films' narratives that is often intimated by scholars, yet rarely developed, can unlock new philosophical meaning in this rich body of work.Although in recent years Buñuel's Mexican films have begun to enjoy a greater presence in criticism on the director, they are often segregated according to their perceived critical value, effectively creating two substrands of work: the independent movies and the studio potboilers. The interdisciplinary approach of this book unites the two, focusing on films such as Los olvidados, Nazarín, and El ángel exterminador alongside La Mort en ce jardin, The Young One, and Simón del desierto, among others. In doing so, it avoids the tropes most often associated with Buñuel's cinema-surrealism, Catholicism, the derision of the bourgeoisie-and the approach most often invoked in analysis of these themes: psychoanalysis. Instead, this book takes inspiration from the fields of human geography, anthropology, and philosophy, applying these to film-focused readings of Buñuel's Mexican cinema to argue that ultimately these films depict an overriding sense of placelessness, overtly or subliminally enacting a search for belonging that forces the viewer to question what it means to be in place.

Buñuel, Luis --- Film --- Mexico --- PERFORMING ARTS / Film & Video / History & Criticism. --- Buñuel, Luis, --- Buñuel, Louis, --- Buñuel Portolés, Luis, --- Portolés, Luis Buñuel, --- Criticism and interpretation. --- Motion pictures --- Expatriate motion picture producers and directors --- Motion picture producers and directors --- History. --- Buñuel, Luis --- Portolés, Luis Buñuel --- Portolés, Luics Buñuel,

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Motion picture producers and directors --- Buñuel, Luis, --- Buñuel, Louis, --- Buñuel Portolés, Luis, --- Portolés, Luis Buñuel, --- Political and social views. --- Criticism and interpretation. --- Buñuel, Luis --- Portolés, Luis Buñuel --- Portolés, Luics Buñuel,

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The Order of Toledo was founded by Luis Buñuel, the Spanish surrealist film-maker, in 1923, when he was a student in Madrid. Along with a number of his peers - Salvador Dalí, Federco García Lorca, Rafael Alberti, and other leading figures in twentieth-century Spanish cultural history - Buñuel would go to Toledo to imbibe the atmosphere in the city and create provocative works of public art. The zenith of the group's activities occurred in 1923-1925, although there were sporadic actions after that date. Fernández Utrera aims to document and interpret Buñuel's and the Order's making of iconoclastic public art in the context of the most critical period in twentieth-century Spanish literary and art history. María Soledad Fernández Utrera is Associate Professor of Spanish at The University of British Columbia.

Public art --- Civic art --- Art --- Motion picture producers and directors --- Flaneurs --- Avant-garde (Aesthetics) --- History. --- History --- Buñuel, Luis, --- Aesthetics --- Modernism (Art) --- Saunterers --- Persons --- Slackers --- Buñuel, Louis, --- Buñuel Portolés, Luis, --- Portolés, Luis Buñuel, --- Buñuel, Luis --- Portolés, Luis Buñuel --- Portolés, Luics Buñuel, --- lemac

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L’œil tranché, d'Un Chien Andalou, le scandale de l’Âge d’or. Une évidence : le projet cinématographique de Luis Buñuel, se place d’emblée sous le signe de la rupture. Une question : la rupture opérée, que peut-il y avoir au-delà ? Comment poursuivre une fois passé le point extrême du refus ? Bunuel aurait pu être le Rimbaud du cinéma. Il aurait pu aussi être de ceux qui sont un jour rentrés dans le rang en abandonnant leurs révoltes de jeunesse. S’il n’a été ni l’un ni l’autre, c’est qu’il a réussi à élaborer une stratégie originale qui lui permette de ne renoncer ni à la création ni à la révolte. Cette stratégie repose sur le paradoxe et sur le jeu : loin de refuser d’abord l’ordre et la loi, les films ne cessent de s’y référer et de les mimer, mais pour les enfreindre et en renouveler indéfiniment la transgression. Cette mise en cause de l’ordre conduit à récuser les catégories fondamentales de notre pensée, de la causalité à la « réalité », de l’identité à la vérité. Ainsi peut s’articuler une parole qui refuse les cadres mêmes qui lui donnent forme. On le vérifie ici avec trois des derniers films de Buñuel : la Voix lactée, le Charme discret de la bourgeoisie et le Fantôme de la liberté.

Motion picture producers and directors --- Producteurs et réalisateurs de cinéma --- Buñuel, Luis, --- Buñuel, Luis, --- Criticism and interpretation --- Producteurs et réalisateurs de cinéma --- Criticism and interpretation. --- Buñuel, Louis, --- Buñuel Portolés, Luis, --- Portolés, Luis Buñuel, --- Buñuel, Luis --- Portolés, Luis Buñuel --- Portolés, Luics Buñuel, --- Buñuel, Luis, - 1900-1983 - Criticism and interpretation --- Cultural studies --- cinéma --- paradoxe --- jeu --- film --- Buñuel, Luis, - 1900-1983