Contested Territory: The Politics of Geography in Luis Buñuel’s «Las Hurdes: Tierra sin pan»

Contested Territory: The Politics of Geography in Luis Buñuel’s «Las Hurdes: Tierra sin pan»

Las Hurdes (1933), Luis Buñuel's third film and only documentary, has been the subject of critical attention throughout the past decade. Nevertheless, its early reception during the Thirties and its relationship to the political events of the Second Republic have been scarcely mentioned. This a...

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Autor principal: Jordana Mendelson
Formato: article
Lenguaje:CA
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Publicado: Universitat Autonoma de Barcelona. Departament d'Art i Musica 1996
Materias:
History of the arts
NX440-632
Acceso en línea:https://doaj.org/article/31dd14dc07b04de3bb82939549afd8b8
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spelling oai:doaj.org-article:31dd14dc07b04de3bb82939549afd8b82021-11-26T10:56:11ZContested Territory: The Politics of Geography in Luis Buñuel’s «Las Hurdes: Tierra sin pan»10.5565/rev/locus.611135-97222014-8798https://doaj.org/article/31dd14dc07b04de3bb82939549afd8b81996-12-01T00:00:00Zhttps://revistes.uab.cat/locus/article/view/61https://doaj.org/toc/1135-9722https://doaj.org/toc/2014-8798Las Hurdes (1933), Luis Buñuel's third film and only documentary, has been the subject of critical attention throughout the past decade. Nevertheless, its early reception during the Thirties and its relationship to the political events of the Second Republic have been scarcely mentioned. This article seeks not only to historically contextualize the film, but also to examine the multiple references within the film to the conventions of documentary, the emerging disciplines of geography and ethnography, and the influence of the film's cameraman Eli Lotar and dissident surrealism. The article demonstrates that the film engages an aesthetic of collage and juxtaposition to provoke a different understanding of documentary, ethnography and the Spanish landscape.Jordana MendelsonUniversitat Autonoma de Barcelona. Departament d'Art i MusicaarticleHistory of the artsNX440-632CAENESFRITPTLocvs Amoenvs, Vol 2 (1996)
institution DOAJ
collection DOAJ
language CA
EN
ES
FR
IT
PT
topic History of the arts
NX440-632
spellingShingle History of the arts
NX440-632
Jordana Mendelson
Contested Territory: The Politics of Geography in Luis Buñuel’s «Las Hurdes: Tierra sin pan»
description Las Hurdes (1933), Luis Buñuel's third film and only documentary, has been the subject of critical attention throughout the past decade. Nevertheless, its early reception during the Thirties and its relationship to the political events of the Second Republic have been scarcely mentioned. This article seeks not only to historically contextualize the film, but also to examine the multiple references within the film to the conventions of documentary, the emerging disciplines of geography and ethnography, and the influence of the film's cameraman Eli Lotar and dissident surrealism. The article demonstrates that the film engages an aesthetic of collage and juxtaposition to provoke a different understanding of documentary, ethnography and the Spanish landscape.
format article
author Jordana Mendelson
author_facet Jordana Mendelson
author_sort Jordana Mendelson
title Contested Territory: The Politics of Geography in Luis Buñuel’s «Las Hurdes: Tierra sin pan»
title_short Contested Territory: The Politics of Geography in Luis Buñuel’s «Las Hurdes: Tierra sin pan»
title_full Contested Territory: The Politics of Geography in Luis Buñuel’s «Las Hurdes: Tierra sin pan»
title_fullStr Contested Territory: The Politics of Geography in Luis Buñuel’s «Las Hurdes: Tierra sin pan»
title_full_unstemmed Contested Territory: The Politics of Geography in Luis Buñuel’s «Las Hurdes: Tierra sin pan»
title_sort contested territory: the politics of geography in luis buñuel’s «las hurdes: tierra sin pan»
publisher Universitat Autonoma de Barcelona. Departament d'Art i Musica
publishDate 1996
url https://doaj.org/article/31dd14dc07b04de3bb82939549afd8b8
work_keys_str_mv AT jordanamendelson contestedterritorythepoliticsofgeographyinluisbunuelslashurdestierrasinpan
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