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Full-Text Articles in Spanish and Portuguese Language and Literature
Encircling Linearity In Carlos Saura's Peppermint Frappé, Linda M. Willem
Encircling Linearity In Carlos Saura's Peppermint Frappé, Linda M. Willem
Scholarship and Professional Work - LAS
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 …
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
Scholarship and Professional Work - LAS
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 …
Highlighting The Hidden: Visual Representation In Gutiérrez Aragón's Demonios En El Jardín, Linda M. Willem
Highlighting The Hidden: Visual Representation In Gutiérrez Aragón's Demonios En El Jardín, Linda M. Willem
Scholarship and Professional Work - LAS
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 …