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| Acknowledgments | vii |
| Foreword by Jean-Claude Carrière | ix |
| Surrealist Writings | |
| An Unspeakable Betrayal | 3 |
| Orchestration | 6 |
| Suburbs: Motifs | 9 |
| Unnoticed Tragedies as Themes for a Totally New Theater | 11 |
| Why I Don't Wear a Watch | 14 |
| Theorem | 19 |
| Lucille and Her Three Fish | 21 |
| Deluge | 22 |
| Ramuneta at the Beach | 24 |
| Cavalleria rusticana | 26 |
| The Pleasant Orders of St. Huesca | 28 |
| Letter to Pepín Bello on St. Valero's Day | 32 |
| Idea for a Story | 36 |
| La Sancta Misa Vaticanae | 37 |
| Ménage à trois | 38 |
| A Decent Story | 40 |
| On Love | 42 |
| A Giraffe | 44 |
| An Andalusian Dog | |
| For Myself I Would Like | 51 |
| Miraculous Polisher | 52 |
| ItSeems to Me Neither Good nor Evil | 53 |
| Upon Getting into Bed | 54 |
| The Rainbow and the Poultice | 55 |
| Redemptress | 56 |
| Bacchanal | 57 |
| Odor of Sanctity | 58 |
| Palace of Ice | 60 |
| Bird of Anguish | 61 |
| Theater | |
| Hamlet | 65 |
| Guignol | 77 |
| On Cinema | |
| BUÑUEL AS CRITIC | |
| A Night at the Studio des Ursulines | 95 |
| Metropolis | 99 |
| Fred Niblo's Camille | 103 |
| Abel Gance's Napoléon | 107 |
| Victor Fleming's The Way of All Flesh | 109 |
| Buster Keaton's College | 110 |
| Variations on Adolphe Menjou's Mustache | 112 |
| News from Hollywood | 116 |
| Our Poets and the Cinema | 119 |
| Carl Dreyer's The Passion of Joan of Arc | 121 |
| The Comic in Cinema | 123 |
| BUÑUEL AS THEORIST | |
| The Cinematic Shot | 125 |
| Découpage, or Cinematic Segmentation | 131 |
| Cinema as an Instrument of Poetry | 136 |
| BUÑUEL AS SCRIPTWRITER | |
| Goya and the Duchess of Alba | 143 |
| Un Chien andalou | 162 |
| L'Age d'or | 170 |
| Gags | 172 |
| Hallucinations about a Dead Hand | 178 |
| Illegible, the Son of a Flute | 181 |
| Agon (Swansong) | 208 |
| Buñuel on Buñuel | |
| Land without Bread | 217 |
| Viridiana | 226 |
| To PECIME | 230 |
| Autobiographical Writings | |
| Fragments of a Journal from Buñuel's Youth in Calanda | 235 |
| Medieval Memories of Lower Aragón | 237 |
| From Buñuel's Autobiography | 245 |
| Pessimism | 258 |
| Afterword by Juan Luis Buñuel and Rafael Buñuel | 265 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
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Thong Pham
reviewed An Unspeakable Betrayal: Selected Writings of Luis Bunuel on May 04, 2010
An Unspeakable Betrayal: Selected Writings of Luis Bunuel
Luis Bunuel was a surrealist filmmaker who directed films like The Exterminating Angel (1962), in which a group of people are at a party and find that they cannot leave the room they're in, and Belle du Jour (1967), in which a bored housewife begins working in a brothel during her afternoons.
This book is a collection of some of Bunuel's writings. It includes the "script" of Bunuel's eye-opening first film, Un Chien Andalou (1928), which he directed with the painter Salvador Dali. The script is particularly useful because it mentions details that might not be obvious from a screening of a grainy print of the film. Some of the film treatments in the book are for films that have not actually been made. Goya and the Duchess of Alba, for instance, is a "straight" romantic narrative about the Spanish royal family and the painter Francisco Goya. Illegible, the Son of a Flute is a surrealist narrative like Un Chien Andalou and The Phantom of Liberty; events in this narrative are dreamlike and unreal, and cause and effect relations between different events are sometimes mysterious.
In addition to Bunuel's film treatments, there are a number of his poems, essays about the history and techniques of cinema, essays about different films (in some of these, Bunuel comments on his own films), a parody of the gossip columns typical of popular movie magazines, and an essay on the history of puppeteering.
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