Flamenco y estereotipos identitariosel caso del cine flamenco de Carlos Saura en los 80 y los 90
- Camarero Calandria, María Emma (coord.)
- Marcos Ramos, María (coord.)
Publisher: Centro de Estudios Brasileños ; Universidad de Salamanca
ISBN: 978-84-606-8174-8
Year of publication: 2015
Volume: 1
Pages: 104-115
Congress: Congreso Internacional Historia, literatura y arte en el cine en español y portugués (3. 2015. Salamanca)
Type: Conference paper
Abstract
Flamenco is a resource deployed by Saura in his motion pictures after 1975 in order to criticize the use of flamenco itself to manipulate Spanish and Andalusian identity during Francoism as well as to relocate flamenco within a democratic context, far away from the cliché imposed by the Regime."The Flamenco Trilogy" (80's) is analyzed like a vindication of genuine flamenco, like an exorcism of stereotypical"españoladas," and like purification from romantic-costumbrist folklore. Changing from fictional adaptation to documentary (90's) demonstrates the success of this approach, but it also sets out a new target: showing to the world the diversity of contemporary flamenco. In other words, flamenco in the 90's becomes a high-culture product that, divested of stereotype, is still able to be exported as an identity diacritic.