Justino, un asesino de la tercera edad
Spanishness, dark comedy and horror
in Contemporary Spanish cinema and genre
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

When asked to classify the Spanish movie Justino, un asesino de la tercera edad (La cuadrilla, 1994), its directors, Luis Guridi and Santiago Aguilar, invent a curious, almost untranslatable film category. A cross between an indigenous dark comedy and an indie horror movie, Justino provokes generic considerations that are necessarily linked to questions - and questionings - of national cinema, which, in turn, raise issues of genre formation, cultural specificity and viewer expectations. This chapter closely examines the character and crimes of the assistant bullfighter to elucidate how his displaced usage of the puntilla adds blood, irony and darkness to the representational anxieties of Spain on the eve of the twenty-first century. Justino belongs to the film genre of Spanish dark comedies because of the 'family resemblances' it displays with movies such as El pisito (Marco Ferreri, 1959), Placido (Luis García Berlanga, 1961), and, especially, El cochecito (Marco Ferreri, 1960).

Metrics

All Time Past Year Past 30 Days
Abstract Views 85 35 7
Full Text Views 41 0 0
PDF Downloads 6 2 0