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Full-Text Articles in Film and Media Studies
Revolutionizing La Regenta: Parodic Transformation And Cinematic Innovation In Oviedo Express, Linda Willem
Revolutionizing La Regenta: Parodic Transformation And Cinematic Innovation In Oviedo Express, Linda Willem
Linda M. Willem
Applying Linda Hutcheon’s concept of parody as “an integrated structural modeling process of revising, replaying, inventing, and ‘trans-contextualizing’ previous works of art,” this article explores how film director Gonzalo Suárez incorporates the following source material into his 2007 comedy Oviedo Express: Leopoldo Alas’s La Regenta as well as Suárez’s own 1974 film adaptation of the novel and Fernando Méndez-Leite’s 1995 made-for-television adaptation of it; Stefan Zweig’s story “Angst” and Roberto Rossellini’s film Non credo più all’amore (La paura) based on it; and J. B. Priestley’s play Music at Night. After announcing his parodic enterprise with a quote from Priestley, Suárez …
Highlighting The Hidden: Visual Representation In Gutiérrez Aragón's Demonios En El Jardín, Linda Willem
Highlighting The Hidden: Visual Representation In Gutiérrez Aragón's Demonios En El Jardín, Linda Willem
Linda M. Willem
According to Spanish film maker Manuel Gutiérrez Aragón, there is an intimate relationship between the family and the state, with the traits of the family mirroring those of the state in which it exists: "la primera célula del Estado es la familia, y si el Estado, por definición, es opresivo, la familia es igualmente opresiva" (García Fernández 331). "Yo utilizo la familia en mis películas porque es muy real, muy testimonial. La familia repite fielmente la estructura social 0 estatal" (Payán and López 27). In Demonios en el jardín (1982) Gutiérrez Aragón uses the metaphor of the family not only …
Almodóvar On The Verge Of Cocteau's "La Voix Humaine", Linda Willem
Almodóvar On The Verge Of Cocteau's "La Voix Humaine", Linda Willem
Linda M. Willem
Jean Cocteau's one-act play, La Voix humaine [The Human Voice], consists entirely of a monologue by a woman engaged in a final phone conversation with her lover. Alone in her room, she desperately clings to the telephone as her only link to the man who has left her for someone else. Although this agonizing portrait of abandonment and despair bears little resemblance to Almodóvar's multi-charactered comedic romp through the streets of Madrid in Mujeres al borde de un ataque de nervios [Women on the Verge of a Nervous Breakdown], Cocteau's play has been named as the source of inspiration for …