By Joan Ramon Resina (ed.), Andrés Lema-Hincapié (ed.)
From the origins of the recent Spanish Cinema within the Fifties to the tip of the final century, Burning Darkness positive factors essays on a variety of crucial motion pictures via Spain’s most vital administrators, together with Pedro Almodóvar, Luis Buñuel, Víctor Erice, Ventura Pons, and others. individuals specialise in present theoretical debates and problems with illustration, politics, cultural identification, and aesthetics. instead of traditionally surveying Spanish movies, the booklet encourages a deep interpreting of those crucial works and the methods they forged gentle on particular points of Spanish society and its contemporary heritage. Accessibly written, it is going to attraction not just to scholars and students but in addition to someone drawn to Spanish cinema.
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Additional resources for Burning Darkness: A Half Century of Spanish Cinema
What is important is that upon being seen, Juan and María José feel Rafa’s gaze as that of a possible executioner. Following Warnock, we might say that in the two sequences mentioned above the other is not an object of perception but rather the origin of a gaze that modiﬁes and in a certain sense possesses, objectiﬁes. With their gaze, Rafa and Miguel endanger the freedom of two for-itselfs, María José and Juan, whose lives are determined by the double secret of their love affair and the murder of the cyclist.
Nevertheless, in mid-century Spain the basic writings of these authors circulated among intellectuals, either in the original version or in Spanish translations. As Frederick Copleston wrote, “existentialism is an attempt to philosophize from the standpoint of the actor rather than from that of the spectator” (129). Here I will be arguing that in Muerte de un ciclista (Death of a Cyclist, 1955), Juan Antonio Bardem philosophizes in existentialist idiom from the perspective of the actor, both in the original motion picture script and the ﬁlm.
Conﬂict is the original meaning of being-for-others” (431). In consonance with Plauto’s lupus est homo homini, Thomas Hobbes’s postulate that every man’s power resists and hinders the effects of the power of others (Leviathan), and Sartre’s social anthropology, where “hell is—other people” (No Exit 46), Bardem’s ﬁlm partially pertains to a socially pessimistic tradition of thought—partially, since he leaves room, however, for conversion and desalination. (We should note, however, that 36 Andrés Lema-Hincapié Sartre’s diabolical anthropology applies only to the bourgeoisie—not to the working class or university-educated youth).
Burning Darkness: A Half Century of Spanish Cinema by Joan Ramon Resina (ed.), Andrés Lema-Hincapié (ed.)