Last week we discussed various correspondences between the concepts of Transition (la transición) and disenchantment (desengaño), and how they related to the (apparent) end of Spanish exceptionalism and the emergence of a new kind of violence in 20th-century Spain.
In an effort to learn about the roles these concepts played in the unfolding of fascism and historical memory we read the essay by Cristina Moreiras where she reframes la movida madrileña, la transición, the period of desengaño that sent Spain down memory lane back to the Baroque period in the 17th century, and the emergence of new kinds of violence. We defined terms of historicity, termprariness, and temporality to better understand the complex state of exception claimed by Franco with his fascist regime, and what happened to it upon his death.
On Thursday Chase presented an essay by Willis that discusses how violence, style, politics, and the influence of the Italian aesthetic of giallo impacted Spanish cinema and society.
Choose two of these critical terms (state of exceptionalism, violence, historicity, temporality, transición, desengaño) and compose a reflection on how they are woven in the 1976 film narrative by Saura Cría cuervos (Raise Ravens).
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