LAS HURDES: A Film By Luis Bunuel
By Jack Hunter
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LAS HURDES - Jack Hunter
Credits
LAS HURDES
EDITED BY JACK HUNTER
AN EBOOK
ISBN 978-1-909923-40-9
PUBLISHED BY ELEKTRON EBOOKS
COPYRIGHT 2013 ELEKTRON EBOOKS
www.elektron-ebooks.com
No part of this publication may be reproduced, stored in a database or retrieval system, posted on any internet site, or transmitted, in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright holders. Any such copyright infringement of this publication may result in civil prosecution
Foreword
Two years after making L’Age d’Or, his second and final film in collaboration with Salvador Dalí, Luis Buñuel made Las Hurdes, a harrowing, twenty-seven minute documentary about the inhabitants of a dispossessed region of rural Spain.
Las Hurdes is often seen as the third volet of his surrealist triptych. Fellow former surrealist Pierre Unik co-wrote the script. Eli Lotar, whose documentary photographs of the Parisian abattoirs figured in Georges Bataille’s review Documents, was the cinematographer. Las Hurdes ( Land Without Bread) earned the peculiar distinction of being banned successively by both the Republican government and by Franco’s Fallangists, on account of its unforgiving exposure of the effects of social injustice in Spain. Its Surrealism lies in the incongruity between the imagery and the soundtrack, both the ironic voice-over and the background music. The commentary is freezingly detached – its authoritative, scientific tone confounded by its obvious powerlessness in the face of the conditions that confront it.
Correspondingly, Brahms’s Fourth Symphony is absurdly and intolerably grandiose in the context of visuals focusing on extremes of poverty and disease. Las Hurdes damningly unmasks the complacency and bad faith of mainstream, colonialist, ethnographic filmmaking of the time. Nor was there anything paradoxical about the notion of a surrealist documentary. The scorpions sequence in L’Age d’Or was a forerunner. As Romane Fotiade has commented, documentary could be made to serve the surrealists’ aim to explode realist boundaries from within, by infiltrating an accurate account of events with a sense of the arbitrary, the inexplicable, the absurd: ‘The