The antihero and popular Barcelona cinema during the Franco regime We invite you to read Ismael Ruiz Lucenilla ‘s Final Project for the Master’s Degree in Humanities : The anti-hero in the ‘Other School of Barcelona’. Antihero archetypes of popular Barcelona cinema during the Franco regime . Below you will find a summary of the TFM developed by the author himself. Through this work, an approach is made to the figure of the antihero in popular genre films made from the mid-
Franco regime until the arrival of the Transition by a group of filmmakers that we refer to as the Other School of Barcelona . To do this, we have tried to identify in these the presence of the antiheroic archetype. Putting it in relation to its most common features within the Spanish Turkey Phone Number List tradition. And showing how it was in the productions of these directors, long before the emergence of the so-called Quinqui cinema, whose protagonists, according to Paramount Channel , are “the greatest antiheroes of Spanish cinema”.
Other School Of Barcelona
popular-cinema-barcelones-during-the-franquism-tfm-humanities-by-ismael-ruiz-lucenilla However, that Other School of Barcelona understood as a movement whose members recognized themselves as part of it, nor did they adhere to certain artistic precepts or doctrines as could happen with some European currents, such as the French Nouvelle Vague or the English Free Cinema , as well as with the School of Barcelona and the New Spanish Cinema if we look at the peninsular context,
But what they were pursuing was nothing more than the commerciality. Of their works, offering what the public wanted, beyond specific aesthetic criteria. Except for those that the genres might require due to their own idiosyncrasy. Between the 1940s and 1950s, cinema in Catalonia was an art, but simply an industry. In which film professionals began their careers from the bottom. In companies such as Emisora Films, and later in IFI or Balcázar, learning the trade through daily practice.
That Other School Of Barcelona Should
ismael-ruiz-lucenilla-final-project-of-master-humanities-tfm-film-transition Therefore, rather than as an artistic trend. It understood as a popular film industry from the mid-Franco regime to the Transition. With the particularity that a large number of directors in Barcelona the trade through it. Whose maximum The promoter was Ignacio F. Iquino, together with filmmakers such as Antonio Isasi-Isasmendi, José Antonio de la Loma. Joan Bosch and Miguel Iglesias Bonns, among others.