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2019
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Universidad Complutense de Madrid
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Sánchez Noriega, José Luis. «De la utopía al desencanto del 92 en el cine español». Área Abierta, vol. 19, n.o 1, diciembre de 2018, pp. 13-27. DOI.org (Crossref), https://doi.org/10.5209/ARAB.61447.
Abstract
La alternativa socialista de 1982, que inicia la España de la postransición, otorga un impulso a la modernización del país y un notable crecimiento económico con la integración en Europa, a la vez que defrauda las expectativas de cambio social. Desde el punto de vista sociopolítico, la sociedad española del post-92 experimenta un desencanto del que se va a hacer eco el cine más comprometido y que, con bastante elocuencia, se aprecia en las películas de Mario Camus. En este trabajo se hace balance de los cambios sociales y sucesos relevantes de los gobiernos socialistas (1982-1996) y se indaga en cómo esos filmes los reflejan críticamente, poniendo énfasis en las diferencias sociales, las figuras de perdedores, la impostura y la violencia.
The socialist alternative in 1982, that initiates the post Transition (to democracy) era in Spain, gives an extraordinary impulse to its modernization and a significant economical increase due to the integration within Europe, as it simultaneously lets down the expectations on social change. From a socio-political point of view, the post-92 Spanish society experiments a disappointment echoed in the most committed cinema, and is quite eloquently manifests in Mario Camus’ films. In the present article, an evaluation of the social changes and remarkable events from the socialist governments (1982-1996) has been made, while examining how these films critically reflect the social differences, the roles of the losers, the imposture and violence.
The socialist alternative in 1982, that initiates the post Transition (to democracy) era in Spain, gives an extraordinary impulse to its modernization and a significant economical increase due to the integration within Europe, as it simultaneously lets down the expectations on social change. From a socio-political point of view, the post-92 Spanish society experiments a disappointment echoed in the most committed cinema, and is quite eloquently manifests in Mario Camus’ films. In the present article, an evaluation of the social changes and remarkable events from the socialist governments (1982-1996) has been made, while examining how these films critically reflect the social differences, the roles of the losers, the imposture and violence.