This week we dwelled in the concepts of the Gothic (architectural, Medieval, literary) and Bromance as two key filmic narratives of transnational fascist, masculinist tales. We explored how these two concepts shape an interplay of fascism and religiosity in post-Franco Spain.
For this blogspot, consider these three question: One, how does a critique of the self (Gothic) entangled with a critique of masculinity (Bromance) contribute to a radical questioning of fascism and religiosity in the midst of fascist legacies and their signs in Spain? Two, how do hidden continuities provoke terror and laughter at once? And three, how do new directions in film in the Spain of the 90s at once install and discard homoerotic relations between men, and classic religious iconographies and myths, thus questioning the very heart of traditional politics and religion?
Taking into account what we all read (Oria’s essay on Gothic and Bromance film narratives, Davies’ essay on Spanish Gothic, and Besas’ essay on the financial structure of films and their relation to Spain’s economics), answer ONE of the three questions posed above, and briefly discuss how that question and your answer are represented in one of Spain’s most poignant films about neofascism and neo-Nationalism: Alex de la Iglesia’s El día de la Bestia / Day of the Beast (1995).
This blogpost does not have a deadline; however, do not let blogging accumulate for the final days of classes, when you should be focusing on your final research project.
This is blogpost number 10. We have two more coming: one on Medem’s Lovers of the Arctic Circle, and the last one, on Medina’s Insensibles / Painless. Happy blogging!