Repression and Excess in La tía Tula (Aunt Tula, Picazo 1964)
Repression and Excess in La tía Tula (Aunt Tula, Picazo 1964)
Miguel Picazo's La tía Tula (Aunt Tula, 1964) is an example of the Nuevo Cine Español films that Mario Camus described as made ‘with friends’. It is a thesis on the interdependence of restraint and rebellion, describing both the subject of the film and Picazo's experience in making it. La tía Tula scrutinises the contradictions of Francoist ideology with respect to gender and sexuality, and recursively examines its own contradictory genesis as part of a government-sponsored movement, especially Picazo's equivocal experience of artistic freedom yet ideological restraint. This chapter explores repression and excess through the use of setting, off-screen space, and the negotiation of the body. After considering the mise en scène of Tula's flat as a haunted house, it looks at three key areas of contradiction in the film: the portrayals of femininity, masculinity and childhood. The chapter also accounts for the impressive mobilisation of filmic resources throughout, paying attention to script, casting, mise en scène, cinematography, editing and sound.
Keywords: Miguel Picazo, La tía Tula, contradictions, gender, sexuality, repression, excess, femininity, masculinity, childhood
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