New Mythological Figures in Spanish Cinema
Dissident Bodies under Franco
Distributed for Amsterdam University Press
325 pages
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10 halftones
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6 1/4 x 9 1/2
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© 2011
After General Francisco Franco died in 1975, Spanish cinema was bursting at the seams. Many film directors broke free from the ancient taboos which had reigned under Franco’s dictatorship, introducing characters who transgressed the traditional borders of social, cultural, and sexual identities. The women, homosexuals, transsexuals, and delinquents who were considered lost, dissonant bodies under Franco’s rule became the new protagonists of Spanish cinema.
“Here is a ‘book of passion’ on the metamorphoses of post-Francoist Spain as it catapulted into the contemporary world (1975–95). It is a book that questions the power of myths expressed through passionate bodies, in particular bodies who for too long were marginalized in traditional societies.” —Michèle Lagny, Université de Sorbonne Nouvelle Paris III
Contents
Acknowledgements
Preface
Introduction
1. From prohibition to clear exhibition: how to read into these film-images?
I. Exposing prohibition
II. The body as witness
III. Updating the archetype
2. The liberation of women
I. Flunking Out (Asignatura pendiente, 1977): breaking through a forbidden topic of the past
II. The “Spanish” Carmen by Carlos Saura
III. High Heels (Tacones lejanos, 1991): a mother walks away
IV. General conclusion on the three films
3. The homosexual body on stage
I. Sex Change (Cambio de sexo, 1977): rejecting the homosexual body
II. The Deputy (El diputado, 1978): the political body
III. The Death of Mikel (La muerte de Mikel, 1983): becoming visible
IV. Desire became the law in 1987
V. Masculinity and homosexuality
4. The delinquent’s body out of focus
I. Hurry, Hurry (Deprisa, deprisa, 1981): faster than time
II. El Lute: A mythological figure is born in the 1960s
III. Running out of Time (Días contados, 1994): drug addiction and terrorism
IV. Conclusion: historicising evil through mythological figures
Conclusion
Notes
Bibliography
Photography credits
Index
Preface
Introduction
1. From prohibition to clear exhibition: how to read into these film-images?
I. Exposing prohibition
II. The body as witness
III. Updating the archetype
2. The liberation of women
I. Flunking Out (Asignatura pendiente, 1977): breaking through a forbidden topic of the past
II. The “Spanish” Carmen by Carlos Saura
III. High Heels (Tacones lejanos, 1991): a mother walks away
IV. General conclusion on the three films
3. The homosexual body on stage
I. Sex Change (Cambio de sexo, 1977): rejecting the homosexual body
II. The Deputy (El diputado, 1978): the political body
III. The Death of Mikel (La muerte de Mikel, 1983): becoming visible
IV. Desire became the law in 1987
V. Masculinity and homosexuality
4. The delinquent’s body out of focus
I. Hurry, Hurry (Deprisa, deprisa, 1981): faster than time
II. El Lute: A mythological figure is born in the 1960s
III. Running out of Time (Días contados, 1994): drug addiction and terrorism
IV. Conclusion: historicising evil through mythological figures
Conclusion
Notes
Bibliography
Photography credits
Index
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