By Joan Ramon Resina (ed.), Andrés Lema-Hincapié (ed.)
From the origins of the recent Spanish Cinema within the Nineteen Fifties to the tip of the final century, Burning Darkness positive factors essays on a variety of crucial motion pictures via Spain’s most vital administrators, together with Pedro Almodóvar, Luis Buñuel, Víctor Erice, Ventura Pons, and others. participants concentrate on present theoretical debates and problems with illustration, politics, cultural id, and aesthetics. instead of traditionally surveying Spanish motion pictures, the e-book encourages a deep studying of those crucial works and the methods they forged mild on particular features of Spanish society and its contemporary historical past. Accessibly written, it's going to charm not just to scholars and students but additionally to a person attracted to Spanish cinema.
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Extra resources for Burning Darkness: A Half Century of Spanish Cinema
Turning himself into the police represents the recovery of his authentic existence, as Juan afﬁrms: “We’re going to be masters of our destiny” (Guión 115). As Oms’s writes: “But there is the trampled cyclist. A death that has awakened in him [ Juan] the moral rectitude of his youth” (18). And in Cerón’s words: “In Bardem’s ﬁlm, what you have is an accidental death that provokes a moral crisis in the protagonist, with political implications” (131). At the same time, the death of the cyclist conﬁrms María José’s conformity.
The form of the fantasy might be a Western or a historical epic, but the content remains the same: the competition between Manolo and the mayor, and the mayor’s desire for Eloísa and Carmen Vargas. The fantasy thus provides a mise-en-scène for the expression of Don Pablo’s desire. Unconsciously, he utilizes the fetish form for his own purposes, even though his dream remains a dream. The ﬁnal words of the narrator expose the ephemeral nature of performance and representation and their place within memory and history: All that remains is to clear up this stage assembly: the false ﬂowers, false suits, the false walls and the false hats of the false Andalusians.
According to Bardem’s script, María José crashes her car “against a rocky slope” (Guión 127), but in the ﬁnal ﬁlm version her car falls from a bridge—a solution that permits Bardem to be more implacable in his treatment of María José, whose life ends in a violent and inexorable decline captured by the ﬁlm’s only inverted close-up. Indeed, this might seem like a provincially moralistic gesture on Bardem’s part; just as Matilde is vindicated, with María José’s death so are Juan and the cyclist. “She had her eyes wide open, terribly surprised” (Guión 128) reads Bardem’s script remarks for this shot, which Egido interprets as “a treatise on criminal anthropology” (36).
Burning Darkness: A Half Century of Spanish Cinema by Joan Ramon Resina (ed.), Andrés Lema-Hincapié (ed.)