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A Cinema of ContradictionSpanish Film in the 1960s$
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Sally Faulkner

Print publication date: 2006

Print ISBN-13: 9780748621606

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748621606.001.0001

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Reality and Pretence in Los farsantes (Frauds, Camus 1963)

Reality and Pretence in Los farsantes (Frauds, Camus 1963)

Chapter:
(p.73) Chapter 3 Reality and Pretence in Los farsantes (Frauds, Camus 1963)
Source:
A Cinema of Contradiction
Author(s):

Sally Faulkner

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748621606.003.0004

This chapter chronicles the confrontation between the two distinct models of film authorship of the producer-led commercial cinema and the director-led art cinema in the genesis of Mario Camus's 1963 film Los farsantes (Frauds. According to the director-led, auteurist model of cinema authorship, the Nuevo Cine Español (NCE) may be considered a cinema that explores contradiction as its directors critiqued the tensions within aperturista Spain in their films. Following this model, the chapter argues that Camus's attempt to define, and condemn, reality and pretence in Los farsantes exposes these contradictions. A reading of Los farsantes as auteur cinema therefore reveals the aesthetic influence of Italian Neorealism and Spanish literature on the NCE. Its contradictory production context reveals, however, that the auteurist NCE was practically dependent on the popular Viejo Cine Español which it intellectually condemned, a fact that is often hidden in accounts of the movement. Camus encodes a critique of popular cinema through his treatment of popular theatre in the film.

Keywords:   Mario Camus, Los farsantes, film authorship, Nuevo Cine Español, Viejo Cine Español, popular theatre, Spanish literature, pretence, reality, contradictions

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