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Buñuel's Impure Modernism (1929–1950)

Buñuel's Impure Modernism (1929–1950) Buñuel’s Impure Modernism (1929–1950) Sebastiaan Faber ‘Der Trug, der ordo idearum wäre der ordo rerum, gründet in der Unterstellung eines Vermittelten als unmittelbar’./‘The delusion that the ordo idearum (order of ideas) should be the ordo rerum (order of things) is based on the insinuation that the mediated is unmediated’. – Theodor W. Adorno1 ‘Luis miente, ha mentido siempre’./‘Luis lies, he’s always lied’. – Max Aub2 I. 1950: A Slap in the Face A little over an hour into the premiere of Los olvidados in Mexico City on 9 November 1950, some members of the audience could not suppress a muffled shriek of disbelief. One of the film’s two tragic protagonists, Pedro – a young, open-faced boy whose loveless, povertystricken life the film had been following closely – had just looked straight into the camera and thrown a rotten egg at it. Smashing onto the lens, it covered the entire screen in a gelatinous, opaque dribble. Two brief seconds later, the camera had miraculously recovered its transparency and diegetic invisibility, and the film continued its melodramatic narrative arc as if nothing had happened. Yet somehow the movie theatre seats suddenly felt a lot less comfortable. Pedro’s insolent aggression – http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Modernist Cultures Edinburgh University Press

Buñuel's Impure Modernism (1929–1950)

Modernist Cultures , Volume 7 (1): 56 – May 1, 2012

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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press 2012
Subject
Film, Media and Cultural Studies
ISSN
2041-1022
eISSN
1753-8629
DOI
10.3366/mod.2012.0028
Publisher site
See Article on Publisher Site

Abstract

Buñuel’s Impure Modernism (1929–1950) Sebastiaan Faber ‘Der Trug, der ordo idearum wäre der ordo rerum, gründet in der Unterstellung eines Vermittelten als unmittelbar’./‘The delusion that the ordo idearum (order of ideas) should be the ordo rerum (order of things) is based on the insinuation that the mediated is unmediated’. – Theodor W. Adorno1 ‘Luis miente, ha mentido siempre’./‘Luis lies, he’s always lied’. – Max Aub2 I. 1950: A Slap in the Face A little over an hour into the premiere of Los olvidados in Mexico City on 9 November 1950, some members of the audience could not suppress a muffled shriek of disbelief. One of the film’s two tragic protagonists, Pedro – a young, open-faced boy whose loveless, povertystricken life the film had been following closely – had just looked straight into the camera and thrown a rotten egg at it. Smashing onto the lens, it covered the entire screen in a gelatinous, opaque dribble. Two brief seconds later, the camera had miraculously recovered its transparency and diegetic invisibility, and the film continued its melodramatic narrative arc as if nothing had happened. Yet somehow the movie theatre seats suddenly felt a lot less comfortable. Pedro’s insolent aggression –

Journal

Modernist CulturesEdinburgh University Press

Published: May 1, 2012

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