Rivista | Rassegna iberistica
Fascicolo | 37 | 101 | 2014
Articolo | Historicidad y culpa en Muerte de un ciclista y Caídos del cielo
Abstract
This article offers an explanation of Spain’s historicity, from the dictatorship to the consolidation of the democracy, by comparing the assassins of Juan Antonio Bardem’s Muerte de un ciclista (1955) and Ray Loriga’s Caídos del cielo (1994). The criminal acts affect the poetics of film and novel, which examination unveils the character’s temporality (Deleuze and Ricoeur) and guilt. This paper moves on to demonstrate how Bardem and Loriga’s poetics of composition replicate an image of the criminals’ historic condition conceptualized from the symbol of Adam’s fall. Its interpretation is later contrasted with the historicity of Spain, whose politics of memory in relation with the Civil War is affected by the oblivion of guilt (Franco’s dictatorship) and grounded on the contradictory idea of forgiveness (democracy).
Pubblicato 09 Giugno 2014 | Lingua: es
Copyright © 2014 Carles Murillo Mir . This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.14277/2037-6588/80
Articoli
Note
Recensioni
Pubblicazioni ricevute
DC Field | Value |
---|---|
dc.identifier |
ECF_article_847 |
dc.title |
Historicidad y culpa en Muerte de un ciclista y Caídos del cielo |
dc.contributor.author |
Murillo Mir Carles |
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing |
dc.type |
Articolo |
dc.language.iso |
es |
dc.identifier.uri |
http://edizionicafoscari.it/it/edizioni4/riviste/rassegna-iberistica/2014/101/historicidad-y-culpa-en-muerte-de-un-ciclista-y-ca/ |
dc.description.abstract |
This article offers an explanation of Spain’s historicity, from the dictatorship to the consolidation of the democracy, by comparing the assassins of Juan Antonio Bardem’s Muerte de un ciclista (1955) and Ray Loriga’s Caídos del cielo (1994). The criminal acts affect the poetics of film and novel, which examination unveils the character’s temporality (Deleuze and Ricoeur) and guilt. This paper moves on to demonstrate how Bardem and Loriga’s poetics of composition replicate an image of the criminals’ historic condition conceptualized from the symbol of Adam’s fall. Its interpretation is later contrasted with the historicity of Spain, whose politics of memory in relation with the Civil War is affected by the oblivion of guilt (Franco’s dictatorship) and grounded on the contradictory idea of forgiveness (democracy). |
dc.relation.ispartof |
Rassegna iberistica |
dc.relation.ispartof |
Vol. 37 | Num. 101 | Giugno 2014 |
dc.issued |
2014-06-09 |
dc.identifier.issn |
|
dc.identifier.eissn |
2037-6588 |
dc.rights |
Creative Commons Attribution 4.0 International Public License |
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
dc.identifier.doi |
10.14277/2037-6588/80 |
dc.peer-review |
yes |
Download data |
Edizioni Ca’ Foscari
Dorsoduro 3246
30123 Venezia
ecf@unive.it
T +39 041 234 8250
Evologi srl
P.IVA 04616450260