Buñuel’s Impure Modernism (1929-1950)

Title:
Buñuel’s Impure Modernism (1929-1950)
Authors:
Faber, Sebastiaan
Abstract:
Agustín Sánchez Vidal has argued that Los olvidados almost perfectly blends the three principal strands of Buñuel’s cinematic career: modernism, commercialism, and a politically committed (documentary) realism. My argument here will be double. First, that this three-way mix can be traced back to the 1930s; and second, that Buñuel’s work invites us to reconsider not only the significance of Spanish cultural production and the Spanish Civil War in the history of modernism, but more generally the importance for its development of the interaction and integration of aesthetics (the identification of cultural value with formal innovation and artistic integrity), politics (the need or desire to intervene in society or fight for a cause), and the market (producing profitable cultural products, and accumulating cultural capital). If modernism is often associated with a quest for purity – a purity linked to notions of authenticity, integrity, high seriousness, and truth – Buñuel stands out as the rebellious champion of a decidedly impure modernism.
Citation:
Faber, Sebastiaan. 2012. "Buñuel’s Impure Modernism (1929-1950)." Modernist Cultures 7: 56-76.
Publisher:
Edinburgh University Press
DATE ISSUED:
2012-05
Department:
Hispanic Studies
Type:
article
PUBLISHED VERSION:
10.3366/mod.2012.0028
PERMANENT LINK:
http://hdl.handle.net/11282/309655

Full metadata record

DC FieldValue Language
dc.contributor.authorFaber, Sebastiaanen_US
dc.date.accessioned2013-12-23T16:14:19Z-
dc.date.available2013-12-23T16:14:19Z-
dc.date.issued2012-05en
dc.identifier.citationFaber, Sebastiaan. 2012. "Buñuel’s Impure Modernism (1929-1950)." Modernist Cultures 7: 56-76.en_US
dc.identifier.issn2041-1022en_US
dc.identifier.urihttp://hdl.handle.net/11282/309655-
dc.description.abstractAgustín Sánchez Vidal has argued that Los olvidados almost perfectly blends the three principal strands of Buñuel’s cinematic career: modernism, commercialism, and a politically committed (documentary) realism. My argument here will be double. First, that this three-way mix can be traced back to the 1930s; and second, that Buñuel’s work invites us to reconsider not only the significance of Spanish cultural production and the Spanish Civil War in the history of modernism, but more generally the importance for its development of the interaction and integration of aesthetics (the identification of cultural value with formal innovation and artistic integrity), politics (the need or desire to intervene in society or fight for a cause), and the market (producing profitable cultural products, and accumulating cultural capital). If modernism is often associated with a quest for purity – a purity linked to notions of authenticity, integrity, high seriousness, and truth – Buñuel stands out as the rebellious champion of a decidedly impure modernism.en_US
dc.language.isoen_USen_US
dc.publisherEdinburgh University Pressen_US
dc.identifier.doi10.3366/mod.2012.0028-
dc.subject.departmentHispanic Studiesen_US
dc.titleBuñuel’s Impure Modernism (1929-1950)en_US
dc.typearticleen_US
dc.identifier.journalModernist Culturesen_US
dc.subject.keywordLuis Buñuelen_US
dc.subject.keywordModernismen_US
dc.subject.keywordLos olvidadosen_US
dc.subject.keywordLas hurdesen_US
dc.subject.keywordLand without breaden_US
dc.subject.keywordSpanish cinemaen_US
dc.subject.keywordExileen_US
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