Queering Bunuel: Sexual Dissidence and Psychoanalysis in his by Julian Daniel Gutierrez-Albilla
By Julian Daniel Gutierrez-Albilla
Because the father of cinematic Surrealism, broad severe consciousness has been dedicated to Luis Bu?uel’s cinema. a lot has been written approximately his first Surrealist motion pictures of the Twenties and Thirties and the French paintings video clips of the Sixties and Nineteen Seventies. even if, the following for the 1st time is a queer re-reading of Bu?uel’s Spanish-language movies permitting us to view Bu?uel’s cinema via a lens of queer spectatorship. concentrating on the flicks Bu?uel produced in Mexico and Spain through the Nineteen Fifties and Nineteen Sixties, Juli?n Daniel Guti?rrez-Albilla argues now not that Bu?uel’s motion pictures have a gay subplot, yet that there are a number of varieties of identification, subjectivity and sexuality found in those motion pictures. Queering Bu?uel brings jointly the fields of movie reports, feminist and queer concept, Hispanic reports, psychoanalysis and artwork idea. Guti?rrez-Albilla succeeds in reconceptualizing Bu?uel’s Mexican and Spanish motion pictures past geographical, old and disciplinary barriers, wondering not only how we see Bu?uel, but additionally how we see cinema.
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Extra resources for Queering Bunuel: Sexual Dissidence and Psychoanalysis in his Mexican and Spanish Cinema (I.B. Tauris in Association with the Oxford Centre for Islamic Studies)
When Pedro’s mother visits him in the prison, she is dressed in a manto that covers her hair, thus allowing us to associate her with the maternal Virgin as represented in religious paintings, such as Piero della Francesca’s Madonna in trono col bambino e santi. Dalí’s Madonna de Port Lligat could be seen as a modern version of Piero della Francesca’s early Renaissance painting. 93 The theme of the mother is a Mexican obsession par excellence. Marianismo has been the conventional pattern of the socialization of the white woman in Mexican society, thereby polarizing the gender positions of Mexican society.
86 When one of the kids refuses to smoke he is called ‘mariquita’, which is a homophobic insult. Homophobia here can be read as the irrational fear of the other in oneself or a symptom of ambivalent social bonds as a way of enforcing the power of heteronormativity as the dominant social practice. How could we read this performance of homophobic masculinity from a camp spectatorship position? 88 The artificial social enactment of these street kids’ masculinity thus renders gender a question of aesthetics.
104 However, let us explore how the film disrupts these monolithic gender polarities by setting up the character as an erotic object. Jaibo’s ‘repulsive’ personality contrasts with the classical perfection of his young and polished body. Through close-ups and medium shots, the camera objectifies his body or focuses on his crotch, thereby appreciating his physicality and allowing for a homoerotic scopophilic pleasure. 105 The shooting style thus encourages the viewer to take pleasure in watching the male body.