Cinema, genealogy, history: Mariano Ozores and Pedro Almodóvar, Mario Camus and Manolo Caro

• Paul Julian Smith ^[1]
  1. [1] Graduate Center, CUNY
• Localización: Bulletin of Spanish Studies, ISSN-e 1478-3428, ISSN 1475-3820, Vol. 100, Nº 9-10, 2023 (Ejemplar dedicado a: The Bulletin of Spanish Studies 1923–2023. A Centenary Number), págs. 1467-1489
• Idioma: inglés
• DOI: 10.1080/14753820.2023.2246795
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• Resumen

  • This article offers close readings of four audio-visual works, covering two genres, urban comedy and rural tragedy, with two examples each. Mariano Ozores’ popular farce Sor Metiche/Unos granujas decentes (1980), anticipates Almodóvar’s dramedy Entre tinieblas (1983) in its convent location and juxtaposition of a nun and a showgirl. Mario Camus’ literary adaptation Los santos inocentes (1984), located in a wealthy Francoist household obsessed with hunting, is reframed by Manolo Caro as the Netflix original Alguien tiene que morir (2020). This article also appeals to Foucault’s essay ‘Nietzsche, Genealogy, History’, the anti-retro, and his writings on film.