Death of a Subaltern: Melodrama, Class and Victimhood in Muerte de un ciclista (Juan Antonio Bardem, 1955) and La mujer sin cabeza (Lucrecia Martel, 2008).
This article provides a comparative analysis of Muerte de un ciclista (dir. Juan Antonio Bardem, 1955) and La mujer sin cabeza (dir. Lucrecia Martel, 2008). It argues that both films use the hit-and-run motif to address class difference, but also to reflect on key historical events such as the Spani...
| Publicado en: | Bulletin of Spanish Visual Studies Vol. 7; no. 1; pp. 15 - 43 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Apr2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=163249555&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 163249555 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 24741604 KI4M jtl: Bulletin of Spanish Visual Studies issn: 24741604 maglogo: N pubinfo: dt: Apr2023 vid: 7 iid: 1 pid: 337 pub: Taylor & Francis Ltd artinfo: ui: 163249555 10.1080/24741604.2021.1974761 ppf: 15 ppct: 28 formats: tig: atl: Death of a Subaltern: Melodrama, Class and Victimhood in Muerte de un ciclista (Juan Antonio Bardem, 1955) and La mujer sin cabeza (Lucrecia Martel, 2008). aug: au: Mourenza, Daniel affil: Trinity College, Dublin su: Martel, Lucrecia, 1966- Spanish Civil War, 1936-1939 Subaltern Melodrama Class differences Dictatorship sug: subj: Martel, Lucrecia, 1966- Spanish Civil War, 1936-1939 Subaltern Melodrama Class differences Dictatorship keyword: Argentine Cinema Class Juan Antonio Bardem La mujer sin cabeza Lucrecia Martel Muerte de un ciclista Spanish Cinema Victimhood ab: This article provides a comparative analysis of Muerte de un ciclista (dir. Juan Antonio Bardem, 1955) and La mujer sin cabeza (dir. Lucrecia Martel, 2008). It argues that both films use the hit-and-run motif to address class difference, but also to reflect on key historical events such as the Spanish Civil War and the desaparecidos during the last military dictatorship in Argentina. The article analyses how both films adopt and rework conventions of melodrama to produce a critique of the bourgeoisie from within. Finally, it contends that each film negotiates differently its affiliation to the melodramatic mode. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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