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Buñuelâs Impure Modernism (1929â1950) Sebastiaan Faber âDer Trug, der ordo idearum wäre der ordo rerum, gründet in der Unterstellung eines Vermittelten als unmittelbarâ./âThe delusion that the ordo idearum (order of ideas) should be the ordo rerum (order of things) is based on the insinuation that the mediated is unmediatedâ. â Theodor W. Adorno1 âLuis miente, ha mentido siempreâ./âLuis lies, heâs always liedâ. â Max Aub2 I. 1950: A Slap in the Face A little over an hour into the premiere of Los olvidados in Mexico City on 9 November 1950, some members of the audience could not suppress a mufï¬ed shriek of disbelief. One of the ï¬lmâs two tragic protagonists, Pedro â a young, open-faced boy whose loveless, povertystricken life the ï¬lm had been following closely â had just looked straight into the camera and thrown a rotten egg at it. Smashing onto the lens, it covered the entire screen in a gelatinous, opaque dribble. Two brief seconds later, the camera had miraculously recovered its transparency and diegetic invisibility, and the ï¬lm continued its melodramatic narrative arc as if nothing had happened. Yet somehow the movie theatre seats suddenly felt a lot less comfortable. Pedroâs insolent aggression â
Modernist Cultures – Edinburgh University Press
Published: May 1, 2012
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