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The Two cines con niñoGenre and the Child Protagonist in Over Fifty Years of Spanish Film (1955-2010)$
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Erin K. Hogan

Print publication date: 2018

Print ISBN-13: 9781474436113

Published to Edinburgh Scholarship Online: May 2019

DOI: 10.3366/edinburgh/9781474436113.001.0001

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Conclusion

Conclusion

Spanish Movies: Genre, Nation and Spanish Movie

Chapter:
(p.200) Conclusion
Source:
The Two cines con niño
Author(s):

Erin K. Hogan

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474436113.003.0010

Spanish Movie (Ruiz Caldera 2009) is, like its character named ‘Ambrosio’, an irreverent and entertaining salad of intertextual references and stock characters for Spanish cinema freaks. Ruiz Caldera’s spoof film illustrates many of the elements that form the new child-starred cinema. This conclusion synthesizes the main ideas of the Two cines by examining how Spanish Movie speaks to national cinema, the relationship between genre and nation, the intertextuality of genre cinema and its function. Spanish Movie calls attention to the repetitiveness of genre films and national cinema for comedic effect and documents attitudes towards genre cinema. The dark comedy of Spanish Movie interprets regenrification through a series of grotesque degradations and carnivalesque inversions. Ruiz Caldera’s film provides spectators with Chapter Five’s Gothic child turned grotesque. Spanish Movie and the nuevo cine con niño exhibit a desire to recover the child protagonist from an unjust, unpleasant, or deadly fate under Francoism and envision a better future for child and nation. The parodic distance of Ruiz Caldera’s film exposes genre as a process in which the new cine con niño participates by reinterpreting Francoist customs, thereby regenrifying the cine con niño for the other of the two Spains.

Keywords:   Javier Ruiz Caldera, Linda Hutcheon, Michel Foucault, Parody, Spanish Movie

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