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Los Olvidados and the Documentary Mode Author(S): JULIE JONES Source: Journal of Film and Video, Vol

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Los Olvidados and the Documentary Mode Author(S): JULIE JONES Source: Journal of Film and Video, Vol Interpreting Reality: Los olvidados and the Documentary Mode Author(s): JULIE JONES Source: Journal of Film and Video, Vol. 57, No. 4 (WINTER 2005), pp. 18-31 Published by: University of Illinois Press on behalf of the University Film & Video Association Stable URL: http://www.jstor.org/stable/20688502 . Accessed: 14/04/2013 15:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and University Film & Video Association are collaborating with JSTOR to digitize, preserve and extend access to Journal of Film and Video. http://www.jstor.org This content downloaded from 128.95.104.66 on Sun, 14 Apr 2013 15:46:15 PM All use subject to JSTOR Terms and Conditions InterpretingReality: Los olvidados and the DocumentaryMode JULIE JONES LUIS BUNUEL NOURISHED AN AFFECTION FOR The followingstudy, dedicated to Los olvida THE DOCUMENTARYMODE throughouthiS dos, concerns those elements inthe filmitself career, even claimingat one point that the thatalign itwith documentarypractice, but the nonfktionfilm had become his main concern studygives equal weight to Bunuel's presenta ("Autobiography"256). Recently,his most tionof the film(mainly through interviews) and clearlydocumentary film, Las Hurdes [Land to contemporaryreviews inthe press, both of without Bread] (1933), has been the object of which stressed the film'sserious social pur much debate regardinghis sources, funding, pose and therebyreinforced an interpretation and political agenda, as well as the degree of thework as nonfiction.It is importanthere towhich he manipulated hismaterial and the to consider Bunuel's conception of documen effects the filmhas had on itssubject, the tary,which makes roomfor parody, social Hurdanos.1Although it is likelythat this height satire, and surrealism. The study is not con ened interestin the expositorydimension of cernedwith any finalclassification of the film Bunuel's work will extend to other films, so far (as we know, the boundary between fiction littlehas been done inthis direction.2 and nonfictionfilms isblurred), but ratherwith A number of Bunuel's other works reveal an examinationof those elementswithin and his interestin a filmpractice thatforegrounds without?or behind?Los olvidados that make issues?Los olvidados [TheYoung and the a documentaryreading fruitful and provide a Damned] (1950), El [ThisStrange Passion] deeper and more nuanced understandingof (1953),Ens ayo de un crimen [TheCriminal Life the work and its context. ofArchibaldo de laCruz] (1953), and La Voie Lactee are a fewthat [TheMilky Way] (1969) Bunuel and the Documentary springto mind?but Los olvidados is the only one thatBunuel himselfactually presented as a Bunuel's conceptionof the documentarywas documentary.3For this reason, it isa criticalfilm heavily influencedby his experiences of surre to consider ina discussion of thedirector's con alism and of communism. The surrealists' inter tinued involvementwith the expositoryform. est indocumentary was an extensionof their belief inthe powers of photography.Andre julie jones is professor of Spanish at the Univer Bazin, followingtheir lineof reasoning,writes sity of New Orleans and has published numerous (naively)that "The photographic image is the articles on narrative and the work of Luis Bunuel object itself,the object freedfrom the condi inCinema the Film and Journal, Journal of Video, tionsof timeand space thatgovern if (What and Comparative Literature. She is the author of 1:14).Hence Breton's inclusionof photographs A Common Place: The Representation of Paris in inNadja. He treatsthem as "the object itself," Spanish-American Fiction (Bucknell, 1988) and as incontrovertible ofwhat he is supplied the running commentary to the Miramax proof trying DVDof Bunuel's Belle de Jour(1967; 2002). less successfullyto express throughlanguage, 18 JOURNAL OF FILM AND VIDEO 57.4 / WINTER 2005 ?2005 BY THE BOARD OF TRUSTEES OF THE UNIVERSITY OF ILLINOIS This content downloaded from 128.95.104.66 on Sun, 14 Apr 2013 15:46:15 PM All use subject to JSTOR Terms and Conditions and he clearlybelieves thatthey offer a direct? istpractice; it isas marked by black humor i.e., unmediated?access to the reality that lies and bitingsatire as isL'Age d'Or, and nothing beyond appearances. Beyond photography, could be more fantasticthan some of its"real surrealistssaw thatethnographic films record ity"sequences.7 But he did see the potential ingthe customs of exotic tribesalso afforded of documentaryas an armof political (rather an outlook onto a differentreality (no matter than cultural)propaganda. He infuriatedDali howmuch that"reality" was manipulated) and by producingan edited version of L'Aged'Or therebygave them themeans, once again, to in1932 thatwas to serve as a proletarianshort contest the assumptions ofWestern culture.4 (Dans les eauxglacees du calcul ego'fste),and BufiuePs firstthree films, his freestbecause when he sonarized Las Hurdes threeyears theywere financedprivately, give a good indi afterfilming it, he dropped itsattack on the cation of his preferences.The third(Las Hurdes) bourgeois liberalgovernment in Spain inorder isa straight-updocumentary (although not to followthe Party'snew Popular Frontpolicy particularly"straight," since italso parodies (Fernandez Ib?nez 166). InParis duringthe the conventionsof the formand, incidentally, Spanish CivilWar, hewas incharge of film pokes funat the surrealists'enthusiasm forex propaganda forthe Republic.He supervised otic cultures)and the other two have a marked the editingof Espana leal en armas (1937) and documentaryinterest. Dalf called Un chien an facilitatedthe making of filmssuch as Andre dalou [AnAndalusian Dog] (1929) a documen Malraux's L'Espoir/Sierrade Teruel (1945) and taryof themind (Fernandez Ib?nez 163); and JorisIvens's The Spanish Earth (1937).8 L'Aged'Or [TheGolden Age] (1930),which kicks DuringWorld War II,the Museum ofModern offwith footageon the lifeof scorpions lifted Art inNew Yorkhired Bunuel, who was already froma nonfktionshort and includesa pseudo inthe US, to edit and dub 16mmnontheatrical newsreel, isbasically an indictmentof Western films,on topics rangingfrom defense produc civilization.(In an edited version, itwould be tionto science and health, fordistribution in used forCommunist propaganda.) BufiuePs Latin America. Bunuel worked as the museum's firstbiographer, Francisco Aranda, argues that chiefeditor from January 1941 to June1943, this triptychshows an "evolution towardpure when an outcryabout his leftistleanings?by documentary"(116).5 this timehe had quietlydropped hismember These filmsset the tone forthe restof ship inthe Communist Party (Gubern and Ham BufiuePs cinematicpractice. The characteristics mond 63-64)?forced him to resign.He had we see distributedacross the threefilms?the had some hopes ofmaking his own documen dramatizationof the unconscious, the stripping tarieswhile atMoMA. The formattracted him in away of convention,the bitingsocial satire,the part because its relatively low cost made exper black humorand the parodyof other forms, imentationpossible at a timewhen indepen alongwith the attentionto historic,social, and dent featureshad been priced out of existence economic detail?will be a constant inhis films, ("Autobiography"255-56). Sadly, Bunuel's whether theyare works of fictionor, as he in work atMoMA was largelybureaucratic, and his sisted about Los olvidados, fact.For him, fol project formaking a filmon schizophreniawith lowingthe surrealists,elements ofmystery or a disciple of Freud's inChicago came to nothing the fantasticare essential ifa filmis to convey (Miultimo suspiro 277). However,even though a sense of reality("Cine" 185). he himselfwas not directing,his work forboth Bunuel joined theCommunist Party of Spain MoMA and theSpanish Republic kept him in sometime betweenMay 1931 and January1932 touchwith documentaryfilmmakers and aware and, alongwith a numberof other comrades, ofwhat theywere producingduring a period leftthe surrealistgroup in1932.6 His decision when the formwas flourishing. to filma documentary,Las Hurdes, the next Bunuel's interestin documentary persisted year did not involvea renunciationof surreal throughouthis longcareer, but itoften sur JOURNAL OF FILM AND VIDEO 57-4 / WINTER 2005 19 ?2OO5 BY THE BOARD OF TRUSTEES OF THE UNIVERSITY OF ILLINOIS This content downloaded from 128.95.104.66 on Sun, 14 Apr 2013 15:46:15 PM All use subject to JSTOR Terms and Conditions faced in unexpected ways. La Voie Lactee, fessional actors to take a hard lookat how the forexample, isan irreverentillustration of workingclass and peasants were affectedby A Historyof Spanish Heterodoxy,Marcelino Italianwar and postwar reality.It must have Menendez Pelayo's examinationof Christian seemed a propitiousmoment, then, tomake a heresies. Virtuallyall Bunuel's films,even filmlike Los olvidados. themost playful,are grounded ina concrete AlthoughBunuel took pains to distance economic, social, and historical reality. Aranda himselffrom the Italians, it is clear that the emphasizes this point inhis biography,and he inceptionof this filmowed much to the huge also argues
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