Spanish filmmaker Carlos Saura, who began his career under the censorship of Franco's regime, has forged an international reputation for his unique cinematic treatment of emotional and spiritual responses to repressive political conditions. In films such as Carmen and El Dorado, where reality and fantasy are deliberately fused together, Saura reveals the illusions of Franco's mythologized Spain--a chaste, Catholic, and heroic Spain of the Golden Age--that tend to isolate Spaniards from the rest of Europe, from each other, and from their own individuality. In this first English-language book on Saura, Marvin D'Lugo looks at the social and artistic forces behind this film auteur's highly personal cinema. Tracing Saura's career over three decades, D'Lugo discusses each work from Hooligans (1959), a realist film about a Madrid street-gang member trying to become a bullfighter, to The Dark Night (1989), a film dealing with the persecution of the religious reformer St. John of the Cross in the late sixteenth century. Throughout he argues that Saura's cinematic style results from a highly original response to the political and historical constraints of Spanish culture. D'Lugo shows how in order to explore the complex cultural politics of "Spanishness" as it was institutionalized under Franco, Saura frames his narrations through the eyes of characters who question the forces that shape personal and collective identity. Moving beyond the limits of traditional auteur studies, this book addresses the relationship between the filmmaker and the cultural ideology that historically has thwarted and manipulated the expressions of individuality in Spanish society.
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In the first English-language auteur study of Spain's most important living film director, D'Lugo examines chronologically Saura's oeuvre in well-researched and cogently argued film-by-film analysis of [nearly] all the director's features. -- Choice
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1 of 2 people found the following review helpful:
4.0 out of 5 stars
It is a nice book,
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This review is from: The Films of Carlos Saura (Paperback)
I liked it, thought I didn't know it was talking about Saura's films before 1990 since that is the publication date of the book.
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Inside This Book
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First Sentence:
SHORTLY after the completion of Carlos Saura's first feature-length film, Los golfos (1959: Hooligans), an article appeared in a Spanish film magazine in which the young director reflected on the cultural underdevelopment that he had to endure given his country's social, intellectual, and artistic backwardness. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
peppermint frappé, dulces horas, cine español, repressive education, historical reflexivity, real spectator, blindfolded eyes, ojos vendados, false individualism, vida mía, amor brujo, noche oscura, political torture, sweet hours, flamenco dance, filmic narrative, para leer Key Phrases - Capitalized Phrases (CAPs): (learn more)
José Maria, Blood Wedding, Garden of Delights, The Bunker, Geraldine Chaplin, The Dark Night, Mama Turns One Hundred, Sánchez Vidal, Imperio Argentina, Antonio Cano, Antonio Gades, Hernández Les, National Film School, Peppermint Frappi, Lope de Aguirre, Holy Week, Alfredo Mayo, Great Theater of the World, Carrero Blanco, Cristina Hoyos, Garcia Escudero, Hemández Les, Juan March, Juan Sahagún, Laura del Sol New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
SHORTLY after the completion of Carlos Saura's first feature-length film, Los golfos (1959: Hooligans), an article appeared in a Spanish film magazine in which the young director reflected on the cultural underdevelopment that he had to endure given his country's social, intellectual, and artistic backwardness. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
peppermint frappé, dulces horas, cine español, repressive education, historical reflexivity, real spectator, blindfolded eyes, ojos vendados, false individualism, vida mía, amor brujo, noche oscura, political torture, sweet hours, flamenco dance, filmic narrative, para leer Key Phrases - Capitalized Phrases (CAPs): (learn more)
José Maria, Blood Wedding, Garden of Delights, The Bunker, Geraldine Chaplin, The Dark Night, Mama Turns One Hundred, Sánchez Vidal, Imperio Argentina, Antonio Cano, Antonio Gades, Hernández Les, National Film School, Peppermint Frappi, Lope de Aguirre, Holy Week, Alfredo Mayo, Great Theater of the World, Carrero Blanco, Cristina Hoyos, Garcia Escudero, Hemández Les, Juan March, Juan Sahagún, Laura del Sol New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 10
books:
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8
books
cite this book:
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- Blood Wedding: A Play by Federico García Lorca on 6 pages
- Citizen Kane (Screenplay) by Orson Welles on page 100, and page 103
- Last Tango in Paris by Bernardo Bertolucci on page 93
- The Music of Spain by Gilbert Chase in Back Matter
- Out of the Past: Spanish Cinema After Franco by John Hopewell in Back Matter
See all 10 books this book cites
- Remapping the Postfranco Cinema by M. Kinder on page 47, and Back Matter
- Representing Religion in World Cinema: Filmmaking, Mythmaking, Culture Making (Religion/Culture/Critique) by S. Brent Plate on page 86
- Desire Unlimited: The Cinema of Pedro Almodovar by Paul Julian Smith on page 107
- Spanish Culture and Society: The Essential Glossary by Barry Jordan in Front Matter
- European Cinema: An Introduction by Jill Forbes on page 141
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