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Articles 1 - 7 of 7
Full-Text Articles in Arts and Humanities
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 …
Encircling Linearity In Carlos Saura's Peppermint Frappé, Linda M. Willem
Encircling Linearity In Carlos Saura's Peppermint Frappé, Linda M. Willem
Linda M. Willem
Spanish director Carlos Saura is internationally famous for creating films where the past, the present, and the future are fused together and intermixed with reality, fantasy, and dreams. Although this practice is generally recognized by critics as one of Saura's strategies for circumventing the repressive censorship operating during the Franco era, María Delgado points out that Saura's continued reliance on non-linear narratives in his post-Franco work "indicates that his style was determined as much by a desire to interrogate the possibilities of the medium as by censorship" (375). Indeed, in an interview with Antonio Castro, Saura has been quoted as …
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 …
Text And Intertext: James Whale's Frankenstein In Víctor Erice's El Espíritu De La Colmena, Linda M. Willem
Text And Intertext: James Whale's Frankenstein In Víctor Erice's El Espíritu De La Colmena, Linda M. Willem
Linda M. Willem
Víctor Erice's use of clips from James Whale's Frankenstein as the basis for actions by his young protagonist, Ana, in El espíritu de la colmena has led critics to speculate on the symbolic meaning of the monster within that Spanish film. For Virginia Higginbotham the monster represents Franco's Spain, a country that has lost both its memory and its moral sense (116-20). For Marvin D'Lugo the monster stands for the mysterious, the unknown, the different, and the deviant, all of which Ana identifies with as she defines herself as an oppositional spirit (2862). Carmen Arocena sees Ana's rebellion as an …
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 …
Metafictional "Mise En Abyme" In Saura's "Carmen", Linda M. Willem
Metafictional "Mise En Abyme" In Saura's "Carmen", Linda M. Willem
Linda M. Willem
In the 1983 film Carmen, Carlos Saura creatively refashions Mérimée's novella and Bizet's opera into an exciting new rendering of the Carmen myth. The foundation of this film rests on Mérimée's narrative, which Saura admires for having the ability to convey a passionate love that still seems as fresh and expressive as it was in its own day (52). Since Saura views the plot modification introduced in Bizet's opera as being a betrayal of Mérimée's novella (55), he ignores the opera's story line and concentrates instead on its music, which he describes as being very beautiful, truly inspired, and having …
Rewriting Rendell: Pedro Almodóvar's "Carne Trémula", Linda M. Willem
Rewriting Rendell: Pedro Almodóvar's "Carne Trémula", Linda M. Willem
Linda M. Willem
The 1997 film Carne trémula has been lauded within as well as outside of Spain as one of Pedro Almodóvar's best works. Critics on both sides of the Atlantic also have noted that this film marks a departure from Almodóvar's previous style, not only because of its tighter plotline and greater psychological depth, but also because Almodóvar's treatment of his material is more serious, less self-indulgent, and openly political. Russell Smith has suggested that the film's narrative coherence may be attributed in part to Almodóvar's use of Ruth Rendell's novel, Live Flesh (1998), as the basis for his script. This …