By Julián Daniel Gutiérrez-Albilla
Because the father of cinematic Surrealism, wide severe realization has been dedicated to Luis Buñuel’s cinema. a lot has been written approximately his first Surrealist movies of the Nineteen Twenties and Thirties and the French artwork videos of the Sixties and Seventies. despite the fact that, right here for the 1st time is a queer re-reading of Buñuel’s Spanish-language movies permitting us to view Buñuel’s cinema via a lens of queer spectatorship. concentrating on the movies Buñuel produced in Mexico and Spain in the course of the Nineteen Fifties and Sixties, Julián Daniel Gutiérrez-Albilla argues now not that Buñuel’s motion pictures have a gay subplot, yet that there are a number of varieties of identification, subjectivity and sexuality found in those films.
Queering Buñuel brings jointly the fields of movie reviews, feminist and queer conception, Hispanic stories, psychoanalysis and paintings concept. Gutiérrez-Albilla succeeds in reconceptualizing Buñuel’s Mexican and Spanish motion pictures past geographical, ancient and disciplinary obstacles, wondering not only how we see Buñuel, but additionally how we see cinema.
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Extra resources for Queering Buñuel: Sexual Dissidence and Psychoanalysis in his Mexican and Spanish Cinema
Lillo’s argument seems to privilege the critical tradition – described earlier – that favours the social realist aesthetic over the exposition of the film’s artificiality and stylization. Moreover, Lillo’s argument implicitly rejects the 33 QUEERING BUÑUEL possibility of subjecting Los olvidados to a camp reading by emphasizing how it differs from prior cinematic representations of poverty in aesthetic and ideological terms. Without disagreeing entirely with Lillo’s approach, we can nonetheless trace some continuity between Los olvidados and the emphasis in these other melodramas on the theatricality of cinematic representation.
Buñuel seems to foreground that empty object, which is simultaneously the intimate kernel and foreign body located on the border between opposite terms, by recovering the socially abject that lurks behind the superficial mask of modernity. 68 If we associate the socially abject with the Lacanian Real, Los olvidados thus reveals and uncovers the modern city’s series of defensive strategies of protection or postponement that need to be played out on the border between the inside and outside in order to cover the empty object or to defer the encounter with the Thing.
Franco argues that: Such hybrid figures that resist modernization are ‘delinquents’, a classification as essential to the modern state as ‘delusion’ was to the Inquisition. The delinquent ‘leaves undone’ – that is, he or she does not do what the state demands. 102 Buñuel represents a marginal subject who disturbs identity, system and order without respecting borders, positions and rules. The young anti-hero is thus located at the ‘outer limit’. Hence, Jaibo’s excessive nature transgresses the social taboos that prohibit excess and promote self-preservation.