A Search for Belonging : : The Mexican Cinema of Luis Buñuel / / Marc Ripley.

• Superior document: Title is part of eBook package: De Gruyter Columbia University Press Complete eBook-Package 2017
• VerfasserIn: Ripley, Marc,
• Place / Publishing House: New York, NY : : Columbia University Press, , [2018]; ©2017
• Year of Publication: 2018
• Language: English
• Physical Description: 1 online resource :; ‹B›B&W Illus.: ‹/B›24.
• Other title: Frontmatter --; Contents --; Acknowledgments --; Introduction --; Chapter 1. Re-locating Buñuel's Mexican Cinema --; Chapter 2. The Island Heterotopias of Robinson Crusoe and The Young One --; Chapter 3. Betwixt and Between: Liminal Space in La Mort en ce jardin and Simón del desierto --; Chapter 4. The Body-self in Place: The Place-worlds of Los olvidados and Nazarín --; Chapter 5. Questions of Belonging: The (Im)possibility of a Home-place --; Conclusion --; References --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780231851091; 9783110543308; 9783110603088; 9783110603972; 9783110604252; 9783110603255
• DOI: 10.7312/ripl18234
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Marc Ripley.

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.