The Rhetoric Of Fascist Spain
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This is especially the case in Guillermo del Toro’s film Pan’s Labyrinth, which juxtaposes fairy tale elements with aspects of Franco era Spain to explore some of its realities in greater detail. By comparing the evils of Vidal and of Ofelia’s fantasy world Del Toro presents the atrocities of Franco era Spain’s Fascist leadership. By contrasting the shapes, colors, and cleanliness of the two worlds, he presented some of the more basic principles of the Fascist regime, and by placing symbolic objects throughout the film, Del Toro emphasizes their symbolic importance to Vidal and again to the Fascist regime. Even with all of these comparisons, however, it is still impossible to determine for a fact if Ofelia’s make believe world was real or
In Junto Díaz’s book, “Drown”, the effect of Ysreal’s single story turning into No face’s humanized struggle is to show when hearing a legend there’s a thought of a specific title that summarizes it as another legend; but when placing an adjective upon what is being seen, there is a deeper analyzation and meaning that creates uncertainty when trying to generalize it. The first chapter of Drown, Ysreal, shows numerous examples of the generalization of the No Face, exposing the horrific story of an identity less monster. Many things are learned about No Face but none of the facts included his name (other than the title) or the good things about him, they were all hideous and bluntly exposed physical traumas and actions No Face did or what had
The films “The other conquest”, “Jerico”, and “I the Worst of All” are all a depiction of what life would be like during the Spanish Conquest. These films give different point of views during the Spanish Conquest. The films give a person a well-rounded view of how the world really changed for different people during a historical movement. After watching these films, one is able to assess and determine their own truth about what exactly happened to Amerindians and Spaniards during this time.
Discuss and analyze how and to what ends fantasy and reality are intertwined in stories you have studied. In this essay, we will discuss how magical realism uses elements of real and of magic to create the literary style. At first, we will try to give a background of what magic realism, where it comes from, and how a story can be labelled as such. Alejo Carpentier’s “Viaje a la semilla” and Julio Cortazar’s “La noche boca arriba” will be our focus.
Introduction In a genre that has been dominated in recent years by the same cheap jump scares and unnecessary gore, Mexican director Guillermo del Toro has breathed life into horror again by combining it with elements of fantasy and historical fiction. In many of his iconic films, del Toro immerses his audience in stories where terrifying monsters are outshined by the cruelty of humans. Utilizing this aspect, he often provides a commentary on politics, in particular the subject of fascism, interwoven into his films. Examining his career, no film defines Guillermo del Toro’s proficiency as a both director and a writer more than his 2006 film Pan’s Labyrinth.
This sense of hostility springs forth from the misconstrued view of literature being the superior art form among the two, extending to the apparent artistic inferiority of cinematic adaptations, which seemingly “betrays” its source material. But the idea of cinema as a potent and dynamic art
The presentation of the tree as fertile and the links to Ofelia’s mother presents it as the womb of Spain withered by the effects of Franco’s fascist dictatorship. This interpretation is consistent with Ofelia’s understanding of reality, and Del Toro’s use of symbolism subtly invites the audience to draw a comparison between the two
Introduction Spain is one of the few countries outside of America that makes a big impact on global cinema. Yet, Hispanic cinema has gained a high status everywhere and Hispanic directors are in high demand to produce films internationally ever since the death of Franco in 1975. Most of Spain’s films produced in the country are of Spanish origins such as ‘El Espíritu de la Colmena’ and ‘Todo sobre mi Madre’. In this essay, one will discuss the use of black humour as social satire. One will discuss also the techniques used in films i.e. shots used, camera angles etc., which are widely used in the film industry today to highlight this black humour, and will refer it with two films which studies the importance of this humour in Hispanic cinema.
Yet, overall, Guzmán’s treatment of the collective is subtle and, in general, manifests fragmentarily; the collective does not appear onscreen as a multitude demanding social change, but rather as a phantasm that has not managed to fully coalesce and revive in postdictatorial times. Gone, for example, are the militant throngs of La batalla that undulate in the streets as if they were one body. Instead, in Guzmán’s postdictatorship cinema, the collective is something to be mourned, desired, celebrated, or intuited. By contrast, Pino Solanas’s post-2001 films return us to the political of Third Cinema—mass street action and overt, incendiary ideological discourse—in ways that Guzmán’s films do not. This move toward citing a Third Cinema aesthetic to revive its potential in the present is the second move I want to examine.
The structural openendedness of the creative capacity of language (i.e., of its ontological performativity) upsets any authoritarian expectations about it. The intended ontology of the Spanish State is a case in point and compromises the Monarchy's and The Inquisition's ability to impose social homogeneity by law. The spectacular failure of their conversion policies will be presented as a paramount instance of such tendency. (ii) The Spectral Ontology (Hauntology) of La Mancha. As an ingenious writer, Cervantes draws upon the limited performativity of language in order to produce specters (an ontology of the haunted, a hauntology [Derrida, 1993]).
Three very important conflicts that will be discussed in this journal are the war in Spain, the teaching troubles with El Maestro, and Frankie finding out the lies that Baffa told him about his mother. The most influential conflict in Frankie’s life at a young age is the war that is happening in Spain. Every part of Frankie’s life could have changed if the war had not started. It was everywhere because Spain had a brash leader: “Spain was under martial law, and anything that offended
This essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument. A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday
In the book, The Witches: Salem 1692, the author Stacy Schiff attempts to condense a large volume of research into a cohesive narrative that tries to avoid to much speculation. There is some contention that the book does speculate into the motives of primary accusers that some reviewers have intimated are bordering on fiction. However, the author defends her arguments logically, and her inferences do seem to bridge the gaps effectively. One of the items that causes some confusion, to both the historically curious, and to the researcher is that the author has created a list of dramatis personae in which the historical figures are labeled as a cast of characters which might make the book seem fictional.
Throughout Miguel de Cervantes novel, Don Quixote, there is a fine line between reality and illusion that seems to vanish portraying a prominent theme in the novel. Don Quixote de La Mancha, a fifty-year-old man, has an insane obsession in reading chivalry books; he is so absorbed in reading these books that he decides to become a knight-errant himself that will set off on adventures for his eternal glory. These books of chivalry have left Don Quixote so deep within his fantasy that there is no risk of him perceiving true reality. There are a plethora of examples where Don Quixote 's perceived reality is his idealistic fantasies. Cervantes expresses these complexities so much that we begin to notice the social criticism Don Quixote receives from people he encounters.
Originally written as a short story published in 1957 and first performed in Paris,France at the Odeon Theatre, Rhinoceros remains one of Eugene Ionesco’s most commonly produced plays. The popularity has not worn off since and there are many criticisms that can be applied to Ionesco’s work, such as biographical criticism and New Historical criticism. There are many parallels of Ionesco’s biography in his fictional story created in Rhinoceros. The play is also used as a mirror to reflect the society and its issues that it was made in at the time. Given Eugene Ionesco was a Franco-Romanian at the time of fascism sweeping Europe, these criticisms are credible.
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