in The child in Spanish cinema
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This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. The book shows how children's acting has in different ways involved an accessing of the real through fakery: Marcelino was offered sweets to make his face light up; Ana Torrent felt real fear at the monster. It interprets the child in Marcelino, pan y vino as a passive victim of National Catholic ideology. The book explores how masculinity in Spain is still labouring under the legacies left by Francoist patriarchal models. It also explores the tortured teen body not as a 'traceless event', but as one marked by the imprints of the Spanish past. Victor Erice's iconic El espiritu de la colmena is paradigmatic of the ways that Spanish films can engage with history through the figure of the child.


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