A Companion to Luis Buñuel -- Copyright -- Contents -- Contributors -- Acknowledgments -- Introduction -- An Aragonese Dog -- A Golden Age -- The Forgotten One -- Strange Passions -- An Exterminating Angel -- Discretion and Desire -- And in the Spring -- Note -- References -- Part One An Aragonese Dog -- 1 Interview with Juan Luis Buñuel -- 2 Luis Buñuel and the Politics of Self-Presentation -- Early Days -- The Man with the Knife: Un chien andalou -- Assault and Retreat: L'Âge d'or (The Golden Age, 1930) -- Selling Out and Signing Up: Las Hurdes, aka Tierra sin pan (Land without Bread, 1933/1936) -- "Buñuel Is Dead": The United States -- Hard Times and Potboilers: Mexico -- Return to Self: Los olvidados -- A Hot Time: Viridiana -- Staying Afloat: Publicity -- The Oscar -- Versions of Self -- Playing Buñuel -- Long Interviews: No Peeking -- Telling It Like It Should Be: My Last Sigh -- Notes -- References -- 3 Buñuel, Master Pyrotechnician: The Role of Firearms in His Cinema -- Introduction: A Passion for Firearms -- Buñuel Opens Fire: The Six-Gun Mystique and Western Parody in Un chien andalou -- L'Âge d'or: Parodic Pyrotechnics and Erotic Pulverization -- Notes -- References -- 4 Buñuel's Critique of Nationalism: A Migratory Aesthetic? -- Displacement, Misplacement -- Migratory Aesthetics as a Cultural Politic -- Sound Out of Place -- Real, Right, True -- Transnationalism versus Migratory Aesthetics -- Notes -- References -- Part Two A Golden Age -- 5 Surreal Souls: Un chien andalou and Early French Film Theory -- The Soul in the 1920s Avant-Garde in France -- Surrealism and Un chien andalou -- Notes -- References -- 6 Fixed-Explosive: Buñuel's Surrealist Time-Image -- Notes -- References -- 7 L'Âge d'or -- Historical Context -- Structure -- Themes and Techniques -- References -- 8 Buñuel Entomographer: From Las Hurdes to Robinson Crusoe.

Notes -- References -- Part Three The Forgotten One -- 9 The Complicit Eye: Directorial and Ocular Paradigms in Luis Buñuel's Mexican Films and Interdisciplinary Visuality (1940s and 1950s) -- Terrains of the "Ojosauro" -- The Unwholesome Eye and Visual Mediations -- Cross-cuttings of the Eye in Art and Cinematography -- The Last Arena -- Notes -- References -- 10 Out of Place, Out of Synch: Errant Movement and Rhythm in Buñuel's Mexican Comedies -- Conclusion -- Notes -- References -- 11 Susana: Melodrama and the Voluptuosity of Destruction -- Notes -- References -- 12 Young Outlaws and Marginal Lives in Latin American Cinema: The Landmark of Buñuel's Los olvidados -- Introduction -- The Lesson of the Master -- Los olvidados: A Classic -- Conclusion -- Notes -- References -- Part Four Strange Passions -- 13 The Creative Process of Robinson Crusoe: Exile, Loneliness, and Humanism -- The Origins of an Assignment with Potential -- Buñuel and the Blacklist: Writing the Script -- The Shooting and the Script: Nature, Specters, and Instincts -- The Rewriting of the Script during Editing and Dubbing -- The Film's Release and Reception -- Notes -- References -- 14 The Cinematic Labor of Affect: Urbanity and Sentimental Education in El bruto and Ensayo de un crimen -- Learning Urbanity -- Cinema and the Capture of Affect -- Taming the Brute -- Space, Family, and Genre -- Of Crime, Musical Boxes, and Film Reels -- Unheard-of Becomings -- Notes -- References -- 15 Stars in the Wilderness: La Mort en ce jardin -- Exiles in Eden -- Signoret, Piccoli, Marchal: Transnational Transformations? -- Notes -- References -- 16 Transitional Triptych: The Traps of International Cinemas in Buñuel's Cela s'appelle l'aurore, La Mort en ce jardin, and La Fièvre monte à El Pao -- Cela s'appelle l'aurore -- La Mort en ce jardin -- La Fièvre monte à El Pao -- Conclusion -- Note.

References -- 17 Buñuel Goes Medieval: From Sewing to Cervantes and the Vagina Dentata -- Notes -- References -- Part Five An Exterminating Angel -- 18 The Galdós Intertext in Viridiana -- Buñuel and Literary Adaptations -- Buñuel and Galdós: Mutual Illumination -- Galdós Adaptations in Spanish Cinema: Lost Opportunities -- Notes -- References -- 19 Spectral Cinema: Le Journal d'une femme de chambre -- Notes -- References -- 20 Between God and the Machine: Buñuel's Cine-Miracles -- Miracles between Religion and Science -- The Saint as Cineaste: Simón del desierto -- Prodigious Travel: La Voie lactée -- Notes -- References -- 21 The Road and the Room: Narrative Drive in the Films of Luis Buñuel -- On the Road and in the Room -- The Way In and the Way Out: Un chien andalou and L'Âge d'or -- Insiders and Outsiders: The Transnational Remix in Las Hurdes and Los olvidados -- Narrative Vehicles in Mexican Road Movies -- Internalizing the Narrative Vehicle and Eroticizing the Room: From Él to Belle de jour -- Going on a Pilgrimage or Holding Your Sacred Ground -- The Final Radical Remix: Le Fantôme de la liberté and Cet obscur objet du désir -- Those Obscure Dynamics of Desire -- References -- Part Six Discretion and Desire -- 22 On a Road to Nowhere: Parodic Movement as Time-Image in La Voie lactée and Le Charme discret de la bourgeoisie -- Notes -- References -- 23 The Intertextual Presence of Lewis Carroll's Alice in Belle de jour -- Notes -- References -- 24 Splitting Doubles: Ángela Molina and the Art of Screen Actingin Cet obscur objet du désir -- Ángela Molina's First Appearance: Conchita in Mathieu's Bedroom -- Conchita at Home -- Conchita. Not the End -- Interview with Ángela Molina, held in Madrid, February 19, 2011 -- Notes -- References -- 25 Buñuel and Historical Reason -- Notes -- References.

26 Through a Fractal Lens: New Perspectives on the Narratives of Luis Buñuel -- Fractal Films -- Techniques -- Parallel Realities and Schrödinger's cat -- Notes -- References -- Part Seven And in the Spring -- 27 Mutilation, Misogyny, and Murder: Surrealist Violence or Torture Porn? -- Notes -- References -- 28 Inside/Outside: Space and Sexual Behavior in Belle de jour and La Pianiste -- Don't Box Me In: Confining Interior Space -- Wanting Out: Desire for Sexual Perversion as a Means of Release -- Go and Play Outside: Outside Space, Sexual Perversion, and Freedom -- Inside and Outside: The Transition to Outside Space -- Reclaiming Space: Belle de jour, La Pianiste, and Henri Lefebvre -- Conclusion -- Note -- References -- 29 Surrealist Legacies: The Influence of Luis Buñuel's "Irrationality" on Hiroshi Teshigahara's "Documentary-fantasy" -- Fredric Jameson's Cinematic Magic Realism -- Art-historical and Literary Roots of Magic Realism: An International Mode -- Los olvidados: Buñuel's Latin American Marvelous -- Indigenous Japanese Modernism: Otoshiana and the Struggle for Survival -- Marvelous Hybridity: A Composite Avant-Garde Response to Late Capitalism -- References -- 30 Luis Buñuel's Angel and Maya Deren's Meshes: Trance and the Cultural Imaginary -- Two Exiles -- Repetition as Structure -- Attacking Visual Space -- A Communal Nightmare -- Angel of History -- References -- Filmography -- Index.