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Le fantastique dans le cinéma espagnol contemporain

Marie-Solelad Rodriguez


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Antoine Gaudin. “Fantastique” as a principle of composing: a question of narrative poetics

1The main goal of this paper is to state precisely the notion of “Fantastique” (as to call Horror Movies) in the theorical sphere, in order to build up a definition of the genre within the field of fiction arts. As an aesthetical category, Fantastique mainly consists in narrative poetics. This paper suggests a definition of the genre as a principle of composing.

2Keywords: horror movie, genre, narration, cinema/literature relation.

Sergi Ramos Alquezar. Spanish fantastique, a history of the genre

3Often perceived as a lesser tendency in the Spanish cinema, the “fantastique” has nevertheless experienced periods of growth characterized by the passion of the public and a sustained production, especially during the last forty years. The history of the genre presents some breaks, following the changes of the political history of the country since the 1970s. Through the study of the various periods’ characteristics, we should analyse the different aspects of the genre, both on the formal and thematic levels, so as to determine national specificities.

4Keywords: fantastique, film History, genre.

Bénédicte Brémard. A stranger in the house: the child in ¿Quién puede matar a un niño? (Narciso Ibáñez Serrador, 1974)

5This article deals with ¿Quién puede matar a un niño? directed by Narciso Ibáñez Serrador, more famous thanks to his TV film series Historias para no dormir. In this film, children use to play an essential part in the development of a pure fantastic style (in Todorov’s terms), i.e. based on the irruption of unexplainable elements inside a perfectly normal realistic context. As some critics as Rosset have pointed out, the feeling of anguish does arise from such a realistic context, from that otherness within the child, the human being we are more reluctant to fear, the one we hardly view with suspicion.

6Keywords: pure fantastic style, realism, the child, otherness, intertextuality.

Emmanuel Vincenot. When Daninsky met Satomi: generic hybridization in La bestia y la espada mágica (Jacinto Molina, 1983)

7This paper focuses on La bestia y la espada mágica (Jacinto Molina, 1983), a spanish-japanese coproduction which mixes very different film genres, such as chambara and werewolf movies. The study, which is part of the genre theory, tries to reveal the logic and the mechanisms that allow apparently incompatible generic traditions to mix together.

8Keywords: genre theory, hybridization, werewolf, chambara.

Marie-Soledad Rodriguez. The metaphorical fantastique or the frontiers of the genre: Nunca es tarde (Armiñán, 1977) and Feroz (Gutiérrez Aragón, 1984)

9When the production of fantastic pictures began to diminish in the mid 1970s, directors like Armiñán or Gutiérrez Aragón included in their films semantic elements of the fantastic genre (for example, a bear man, an old women with magical powers) despite the fact that their works do not belong to fantastic. This article analyzes the origin, the use and the function of these fantastic elements in Nunca es tarde (1977) and Feroz (1984). It appears that these narratives propose a metaphorical discourse about politics and society, using the cinematic devices of the fantastic genre.

10Keywords: semantic elements, beliefs, traditions, staging, fable, metaphor.

Delphine Chambolle. El Día de la bestia (Alex de la Iglesia, 1995) a fantastic and satiric comedy

11El día de la bestia (1995) directed by Álex de la Iglesia, called a satanic action’s comedy, plays with different genres. At first sight, the movie seems to be like a parody of fantastic genre, by the subject of the script (avoid the birth of the anti-christ on Christhmas day in Madrid) or by the character’s caricature (the basque priest and his confederate fan of heavy metal). However the construction of the movie is more complicated. Actually the director gives us an apocaliptic image of Madrid: violence, excessive consummation, hypnotic omnipresence of television’s screen; and it is from this reversed image of society which appears through different mirrors that the fantastic reveals itself as another vision of reality.

12Keywords: parody, double, mirror, the Other.

Sergi Ramos Alquezar. The Spanish ghost, a conflictive relationship with time

13The ghost has become a recurrent presence in the last ten years of Spanish cinema. Despite the large number of directors who have deal with, all the films show a surprising constancy. The representation of the ghost is always closely related to photography and film, making it a suitable figure to reflect about time. Beyond the horrific images which are specific to supernatural movies, the ghost embodies the crisis of the family haunted by a traumatic past.

14Keywords: fantastic, ghost, genre, figure, time.

Pamela Ellayah. Traces of Anglo-Saxon Gothic in Alejandro Amenábar’s The Others (2001) and Jaume Balagueró’s Fragile (2005)

15The article sets out to examine the ways in which the films The Others (2001)by Alejandro Amenábar and Fragile (2005) by Jaume Balagueró take their inspiration from Anglo-Saxon Gothic tradition. We will analyse how the fantastic elements of these two ghost stories are based on the transposition of emblematic themes of the English Gothic literary genre in which the dwelling is the locus. The themes of isolation, the vertiginous aspect of the architecture, and the labyrinthine organisation of the setting are transposed to define the dramatisation of the haunted space while the use of darkness and veiling create visual uncertainty.

16Keywords: gothic, ghost, architecture, darkness, double.

Gwenaël Tison. Porosity of fairy tale between marvelous and fantastic: El laberinto del fauno (Guillermo del Toro, 2006)

17The presence of a unique bestiary in El laberinto del Fauno (2006) by Guillermo del Toro questioned our relationship with the marvelous. By introducing the marvelous elements within a past that really existed (the Franco era), the director provides solid grounds to his narrative and examines the impact between two parallel universes: the marvelous one and the so called real one. This article intends to explore the relationships between fairy tale (originally, a literary production) and fantasy story, to see how the former communicates with the second.

18Keywords: bestiary, fairy tales, genres, frontiers, unconscious.

Antoine Gaudin. Hermeneutics of genre and gender issue: female main characters in Spanish contemporary horror film

19This paper examines issues of representation of female main characters within three important films of the Spanish contemporary horror cinema: Fragile, Los abandonados and El orfanato. The narrative and aesthetic structures of these films are analysed in relation to the particular poetic of the genre “fantastique”, and to issues raised by the gender studies. Also these films are the subject of specific analysis within the Spanish context, both cultural and historical.

20Keywords: genre, gender, haunting, past, motherhood.

Marie-Soledad Rodriguez. Elio Quiroga’s NO-DO (2009), Paco Plaza and Jaume Balagueró’s REC (2007) and REC 2 (2009): metadiscourse and visions of a society

21These three recent pictures are constructed with film materials and the constant recourse to a video camera and a subjective point of view. By resorting to these procedures, they introduce a metadiscursive reflection on the medium itself and question the veracity of the images. The use of film process is justified both by the fact that they belong to the genre fantastique and by the investigation that takes place in these stories and whose result is to examine critically the past and present of Spanish society.

22Keywords: metadiscourse, subjective point of view, NO-DO, past, Spanish society, Church.

© Presses Sorbonne Nouvelle, 2011

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