The antihero and popular Barcelona cinema during the Franco regime With regard to the figure of the antihero , whose origin is directly linked to Spanish popular culture – its most primitive form is located in the picaresque tradition that began in the 16th century, and was later complemented by the bandits that appeared in hundreds of songs. and literary works up to the 19th century, converted into a myth and elevated to that category, occupying an important place in the Spanish collective imagination
we see that they become part of the cinematographic world not only as bandits, but also in a modernized version through gangster films, adapting to the new times, as Hobsbawm points out in his work on social banditry. final-project-of-master-humanities-tfm-cinema-barcelona-franquismo-antiheroes However, this change in the archetype did not take place in Afghanistan Phone Number List until the mid-1950s, since the initial tendency of Barcelona’s criminal cinema during the first half of the decade was to focus on the role of the police forces,
Barcelona’s Criminal Cinema
and not It is not until 1955 when films from the perspective of the criminal begin to proliferate. Giving the criminal a greater role in the stories, with the consequent identification with him by the spectators. final-project-of-master-humanities-tfm-cinema-barcelona-franquismo-antiheroes Later. Starting in the mid-1960s, the antiheroic archetype. Will with the arrival of international thrillers under the figure of the, until then inadmissible. Private detective, as well as with other amoral and cynical characters embodied in the gunmen. Of the western Mediterranean.
Therefore, although it is clear that behind the decision to approach new genres there were purely economic ends, after having verified the success of those foreign films in neighborhood theaters, we think that the modifications that the censorship went through also had an influence, lowering the level of censorship and offering greater explanation of its restrictions, at the same time that the filmmakers themselves resorted to methods that could provide them with greater permissiveness when covering some topics or the treatment of certain characters, placing the narrated stories in places outside of Spain, that did not call into question the
While Marro And De Baños Recreate
Francoist pax , as was the case with thrillers , and/or under a time frame different from that of that moment. As in the mediterranean western . ismael-ruiz-lucenilla-final-project-of-master-humanities-tfm-humanities-cinema-barcelona-franco Consequently. With the irruption of these two genres from the mid-1960s to the end of the 1970s, an impasse of almost fifteen years. That a certain break in the continuity of the traditional antihero of Spanish culture. Not only due to the fact that