| Publicació: |
New York : Bloomsbury, 2016 |
| Resum: |
Juan Antonio Bardem's indebtedness to Italian Neorealism has been widely recognized. Films such as Michelangelo Antonioni's Cronaca di un amore/Story of a Love Affair (1950) and Federico Fellini's I vitelloni/The Young and the Passionate (1953) are often cited as direct influences on films such as Muerte de un ciclista/Death of a Cyclist (1955), and Calle Mayor/Main Street (1956). However, some scholars (Kinder 1993; Roberts 1999; Allinson 2005; Jorza 2011) have recently identified the influence of Hollywood melodrama on these films. My article will discuss this decisive influence on these and other films from that period, including Cómicos/Actors (1954), Los inocentes/The Innocents (1963), and Nunca pasa nada/Nothing Ever Happens (1963). In this article I will argue that Bardem made an intelligent and subversive use of melodrama to display the immanent need for change in Spain. By displacing the social and ideological conflicts of Francoist Spain onto the private sphere of individual and sentimental relationships, he drew attention to how these conflicts were ultimately experienced by the individual. I will thus show how the adoption of a global genre such as melodrama was used by Bardem to represent and confront Spain's social and political situation. |
| Drets: |
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| Llengua: |
Anglès |
| Document: |
Capítol de llibre ; recerca ; Versió acceptada per publicar |
| Publicat a: |
Global Genres, Local Films: The Transnational Dimension of Spanish Cinema, 2016, p. 71-86, ISBN 978-1-5013-0298-5 |
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