Luis Buñuel  

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 +[http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [Apr 2007]
 +{{Template}}
 +'''Luis Buñuel Portolés''' ([[February 22]], [[1900]], [[Calanda]] – [[July 29]], [[1983]]) was a Spanish-born [[filmmaker]] who worked mainly in Mexico and France, but also in his native country and the United States.
 +
 +==Surrealism==
 +Famous are his scenes where chickens populate nightmares, women grow beards, and aspiring saints are desired by luscious women. Even in the many movies he made for hire (rather than for his own creative reasons), such as ''[[Susana]]'', ''Robinson Crusoe'', and ''[[The Great Madcap]]'', he always added his trademark of disturbing and surreal images. Running through his own films is a backbone of surrealism; Buñuel's world is one in which an entire dinner party suddenly finds themselves inexplicably unable to leave the room and go home, a bad dream hands a man a letter which he brings to the doctor the next day, and where the devil, if unable to tempt a saint with a pretty girl, will fly him to a disco. Buñuel kept the faith longer than any other surrealist in any medium, and true to those roots, he never explained or promoted his work. On one occasion, when his son was interviewed about ''[[The Exterminating Angel]]'', Buñuel instructed him to give facetious answers; for example, when asked about the presence of a bear in the socialites' house, Buñuel ''fils'' claimed it was because his father liked bears. Similarly, the several repeated scenes in the film were explained as having been put there to increase the running time.
 +
 +
 +==Filming style and technique==
 +Buñuel's style of directing was extremely economical. He shot films in a few weeks, never deviating from his script and shooting in order as much as possible to minimize editing time. He told actors as little as possible, and limited his directions mostly to physical movements ("move to the right", "walk down the hall and go through that door", etc.). He often refused to answer actors' questions and was known to simply turn off his hearing aid on the set; though they found it difficult at the time, many actors who worked with him acknowledged later that his approach made for fresh and excellent performances.
 +
 +Buñuel preferred scenes which could simply be pieced together end-to-end in the editing room, resulting in long, mobile, wide shots which followed the action of the scene. Examples are especially present in his French films. For example, at the restaurant / ski resort in ''[[Belle de Jour]]'', Séverin, Pierre, and Henri are conversing at a table. Buñuel cuts away from their conversation to two young women who walk down a few steps and proceed through the restaurant, passing behind Séverin, Pierre, and Henri, at which point the camera stops and the young women walk out of frame. Henri then comments on the women and the conversation at the table progresses from there.
 +
 +Buñuel disliked [[Diegesis|non-diegetic]] music, and avoided it in his films. The films of his French era were not scored and some (''[[Belle de Jour]]'', ''[[Diary of a Chambermaid]]'') contain absolutely no music whatsoever. ''[[Belle de Jour]]'' does, however, feature
 +(potentially) non-diegetic [[sound effects]], believed by some to be clues as to whether or not the current scene is a dream.
 +
 +==Filmography (director)==
 +* ''[[Cet obscur objet du désir]]'' ("That Obscure Object of Desire") (1977)
 +* ''[[Le fantôme de la liberté]]'' ("The Phantom of Liberty") (1974)
 +* ''[[Le charme discret de la bourgeoisie]]'' (''The Discreet Charm of the Bourgeoisie'') (1972)<br>won [[Academy Award for Best Foreign Language Film]]
 +* ''[[Tristana]]'' (1970), starring [[Catherine Deneuve]]
 +* ''[[La Voie Lactée]]'' ("The Milky Way") (1969)
 +* ''[[Belle de jour]]'' (1967), starring [[Catherine Deneuve]]
 +* ''[[Simón del desierto]]'' (1965)
 +* ''[[Diary of a Chambermaid (1964 film)|Le journal d'une femme de chambre]]'' ("The Diary of a Chambermaid") (1964), starring [[Jeanne Moreau]]
 +* ''[[El ángel exterminador]]'' ("The Exterminating Angel") (1962)
 +* ''[[Viridiana]]'' (1961), won the [[Palme d'Or]] at the [[Cannes Film Festival]]
 +* ''[[The Young One]]'' (Spanish title "La Joven") (1960, US film in Engish)
 +* ''[[La fièvre monte à El Pao]]'' (1959), starring [[Gérard Philipe]]
 +* ''[[Nazarín]]'' (1959)
 +* ''[[La mort en ce jardin]]'' (1956) starring [[Simone Signoret]]
 +* ''[[Cela s'appelle l'aurore]]'' (1955) starring [[Georges Marchal]], [[Lucia Bosé]]
 +* ''[[El río y la muerte]]'' ("The River and the Death") (1955)
 +* ''[[Ensayo de un crimen]]'' ("Rehearsal for a Crime" or "The Criminal Life of Archibaldo de la Cruz") (1955)
 +* ''[[Robinson Crusoe (1954 film)|Robinson Crusoe]]'' (Spanish title "Las aventuras de Robinson Crusoe") (1954) starring [[Dan O'Herlihy|Daniel O'Herlihy]]
 +* ''[[Abismos de pasión]]'' ("Abysses of Passion") (1954)
 +* ''[[La ilusión viaja en tranvía]]'' ("The Illusion Travels by Streetcar") (1954)
 +* ''[[El (film)|El]]'' ("This Strange Passion") (1953)
 +* ''[[El bruto]]'' ("The Brute") (1953)
 +* ''[[Una mujer sin amor]]'' ("A Woman Without Love") (1952)
 +* ''[[Subida al cielo]]'' ("Ascent to Heaven") (1952)
 +* ''[[La hija del engaño]]'' ("The Daughter of Deceit") (1951)
 +* ''[[Susana]]'' (1951)
 +* ''[[Los olvidados]]'' ("The Forgotten") (1950)
 +* ''[[El Gran Calavera]]'' ("The Great Madcap") (1949)
 +* ''[[Gran Casino]]'' ("Magnificent Casino") (1946)
 +* ''[[España 1936 (film)|España 1936]]'' ("Spain 1936")
 +* ''[[Las Hurdes: Tierra Sin Pan|Las Hurdes]]'' ("Tierra sin Pan" or "Land Without Bread") (1933)
 +* ''[[L'Âge d'Or]]'' (''The Golden Age'') (1930)
 +* ''[[Un chien andalou]]'' (''An Andalusian Dog'') (1929)
 +
 +
 +==Bibliography==
 +* [http://www.lib.berkeley.edu/MRC/Bunuelbib.html Bunuel Bibliography (via UC Berkeley)]
 +* [http://www.1worldfilms.com/luis_bunuel.htm Buñuel biography]
 +* Koller, Michael. [http://www.sensesofcinema.com/contents/cteq/01/12/chien.html ''Un Chien Andalou'']. ''senses of cinema'' January 2001. Retrieved on [[July 26]], [[2006]].
 +*López, Ignacio Javier. ''The Old Age of William Tell (A study of Buñuel's ''Tristana'')''. ''[[MLN]]'' 116 (2001): 295–314.
 +
 +
[http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [Apr 2007] [http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [Apr 2007]

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Luis Buñuel Portolés (February 22, 1900, Calanda – July 29, 1983) was a Spanish-born filmmaker who worked mainly in Mexico and France, but also in his native country and the United States.

Contents

Surrealism

Famous are his scenes where chickens populate nightmares, women grow beards, and aspiring saints are desired by luscious women. Even in the many movies he made for hire (rather than for his own creative reasons), such as Susana, Robinson Crusoe, and The Great Madcap, he always added his trademark of disturbing and surreal images. Running through his own films is a backbone of surrealism; Buñuel's world is one in which an entire dinner party suddenly finds themselves inexplicably unable to leave the room and go home, a bad dream hands a man a letter which he brings to the doctor the next day, and where the devil, if unable to tempt a saint with a pretty girl, will fly him to a disco. Buñuel kept the faith longer than any other surrealist in any medium, and true to those roots, he never explained or promoted his work. On one occasion, when his son was interviewed about The Exterminating Angel, Buñuel instructed him to give facetious answers; for example, when asked about the presence of a bear in the socialites' house, Buñuel fils claimed it was because his father liked bears. Similarly, the several repeated scenes in the film were explained as having been put there to increase the running time.


Filming style and technique

Buñuel's style of directing was extremely economical. He shot films in a few weeks, never deviating from his script and shooting in order as much as possible to minimize editing time. He told actors as little as possible, and limited his directions mostly to physical movements ("move to the right", "walk down the hall and go through that door", etc.). He often refused to answer actors' questions and was known to simply turn off his hearing aid on the set; though they found it difficult at the time, many actors who worked with him acknowledged later that his approach made for fresh and excellent performances.

Buñuel preferred scenes which could simply be pieced together end-to-end in the editing room, resulting in long, mobile, wide shots which followed the action of the scene. Examples are especially present in his French films. For example, at the restaurant / ski resort in Belle de Jour, Séverin, Pierre, and Henri are conversing at a table. Buñuel cuts away from their conversation to two young women who walk down a few steps and proceed through the restaurant, passing behind Séverin, Pierre, and Henri, at which point the camera stops and the young women walk out of frame. Henri then comments on the women and the conversation at the table progresses from there.

Buñuel disliked non-diegetic music, and avoided it in his films. The films of his French era were not scored and some (Belle de Jour, Diary of a Chambermaid) contain absolutely no music whatsoever. Belle de Jour does, however, feature (potentially) non-diegetic sound effects, believed by some to be clues as to whether or not the current scene is a dream.

Filmography (director)


Bibliography


[2] [Apr 2007]

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