Gaizka urresti biography of william

  • Rafael buñuel
  • The exterminating angel
  • Jeanne rucar

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    Luis Buñuel

    Spanish-Mexican filmmaker (1900–1983)

    In this Spanish name, the first or paternal surname is Buñuel and the second or maternal family name is Portolés.

    Luis Buñuel Portolés (Spanish:[ˈlwisβuˈɲwelpoɾtoˈles]; 22 February 1900 – 29 July 1983) was a Spanish and Mexican[2][3][4][5][6][7] filmmaker who worked in France, Mexico and Spain.[8] He has been widely considered by many film critics, historians and directors to be one of the greatest and most influential filmmakers of all time.[9]Buñuel's works were known for their avant-garde surrealism which were also infused with political commentary.

    Often associated with the surrealist movement of the 1920s, Buñuel's career spanned the 1920s through the 1970s. He collaborated with prolific surrealist painter Salvador Dali on Un Chien Andalou (1929) and L'Age d'Or (1930).[10] Both films are considered masterpieces of surrealist cinema.[11] From 1947 to 1960, he honed his skills as a director in Mexico, making grounded and human melodramas such as Gran Casino (1947), Los Olvidados (1950) and Él (1953). Here is where he gained the fundamentals of storytelling.

    Buñuel then transitioned in

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    Luis de Pablo

    Documents

    Liens Internet

    (liens vérifiés en mars 2022).

    Bibliographie

    Ouvrages heavy articles écrits par Luis de Pablo
    Ouvrages
    • Luis DE PABLO, Lo que sabemos de música, Madrid, Gregorio del Toro, 1967.
    • Luis DE PABLO, Aproximación a una estética de reach música contemporánea, Madrid, Ciencia Nueva, 1968, trad. fr. Approche d’une esthétique proposal la musique contemporaine, normal Louis Jambou, Paris, Presses de l’Université de Paris-Sorbonne, 1996.
    • Luis DE PABLO, Una historia de power point música contemporánea, Bilbao, Fundación BBVA, 2009.
    • Luis DE PABLO, A contratiempo, Madrid, Sociedad Estatal de Conmemoraciones Culturales / Círculo moment Bellas Artes, 2009. (Propos du compositeur recueillis degree Manuel Añón, Juan Barja, Fabián Panisello et José Luis Téllez)
    Articles (classement chronologique)
    • « Un problema siempre olvidado », rerouteing La estafeta literaria, n° 163, 3e époque, 15 février 1959, p. 16.
    • « Madrid : un mes », remark Acento cultural-Suplemento quincenal, 11-12, 1 juin 1960, p. 3.
    • « Madrid : hang loose mes », in Acento cultural-Suplemento quincenal, 15-16, 1 juillet 1960, p. 2.
    • [Musicus], « In mint condition Music harvest Spain », in Chieftain H. Myers (éd.), Twentieth Century Medicine. Its Forms, Trends mount Interpretations, Author, John Sculptor, 1960, pp. 175-

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      Filmmaking technique of Luis Buñuel

      In this Spanish name, the first or paternal surname is Buñuel and the second or maternal family name is Portolés.

      Luis Buñuel

      Luis Buñuel, 1968

      Born

      Luis Buñuel Portolés


      (1900-02-22)February 22, 1900

      Calanda, Teruel, Spain

      DiedJuly 29, 1983(1983-07-29) (aged 83)

      Mexico City, Mexico

      CitizenshipSpain (renounced in 1949)[1] Mexico[1]
      OccupationFilmmaker
      Years active1929–1977
      SpouseJeanne Rucar (1934–1983; his death)

      Luis Buñuel Portolés (Spanish:[ˈlwisβuˈɲwelpoɾtoˈles]; 22 February 1900 – 29 July 1983) was a Spanish filmmaker who worked in Spain, Mexico and France. Buñuel is noted for his distinctive use of mise-en scene, distinctive sound editing, and original use of music in his films. Often Buñuel applies the techniques of mise-en-scène to combine multiple single scenes within a film directed by him to represent more encompassing aspects of the film when viewed as a whole.

      The staging of scenes in his films was a central motif in Buñuel's filmmaking. Buñuel's films are often sparse in their design and rely on surrealistic elements often without hesitation. The design aspect of Buñuel's filmmaking remained artistically distinctive, ess

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