Cultural Articulations of Alterity and Resistance in the New Millennium
Rethinking ‘Identities’ is a multi-authored project that is original in providing – in distributed and granular mode – a hyper-contemporary and wide-ranging applied analysis that questions notions of identity based on nation and region, language, ethnicity, gender, sexuality, religion or even ‘the human’. The volume achieves this by mobilizing various contexts of identity (gender, ethnicity, sexuality, nation) and medium (art, cinema, literature, music, theatre, video). Emphasizing the extreme contemporary (the twenty-first century) and the challenges posed by an increasingly global society, this collection of essays builds upon existing intellectual investigations of identity with the aim of offering a fresh perspective that transcends cognitive and geographical frontiers.
Alfredo Martínez-Expósito: Branding the Nation: Resistance and Authenticity in García Berlanga’s París-Tombuctú
← 140 | 141 →ALFREDO MARTÍNEZ-EXPÓSITO
Many of the obituaries published in Spain on the passing of Luis García Berlanga (1921–2010) devoted more than a few lines to pointing out the centrality of Spanishness in his lifelong career as a director and scriptwriter spanning five decades. Both as a man and as an artist, García Berlanga sustained a chronically problematic relationship with Spain – not only with the State (for which he volunteered to join the División Azul with which Franco hoped to help Hitler on the Eastern Front against Bolshevism during World War II) but also with the nation and the people. García Berlanga’s oeuvre represents a monumental and unmatched chronicle of Spanish life during the second half of the twentieth century, from the beginnings of post-war economic development in the 1950s up to the triumph of Brand Spain in the 1990s. The portrait that his eighteen long feature films convey of Spain is deeply rooted in the double tradition of the astracán and the esperpento – dramatic genres that make use of character deformation and other comic devices, sometimes with a political or ideological twist. García Berlanga’s last film, París-Tombuctú (1999), represents a conscious and deliberate climax in his career, both from a thematic and technical viewpoint. In the film, García Berlanga offers his most nuanced critique of a country and a society for which he has a long-held ambiguous sentiment. The State remains a source of hegemonic discourses...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.