Publication: "Pasa la vida": Cartografías Urbanas de Madrid en la Post-Transición (1982-1994)
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2014
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Abstract
Este artículo explora representaciones de la cotidianidad en el espacio urbano de Madrid desde comienzos de los 80 hasta mediados de los 90. Durante la Transición, el cine español se lanza a retratar noveles formas de interacción que negocian estímulos y formaciones sociales, económicas e ideológicas recién surgidas, mostrando un compromiso innegable con la representación de la realidad social y, más específicamente, los marginados. Desde finales de los 80 hasta mediados de los 90, los realizadores españoles posan su mirada en un tejido social caracterizado por un «presentismo» que dejó de un lado un compromiso con la reciente historia de España y la capacidad de la ciudadanía para intervenir de manera decisiva en los pilares constitutivos de la realidad social. En el periodo estudiado, el cine español encuentra una realidad social en fluctuación y se acerca a la misma desde diferentes perspectivas, tornándose un mecanismo de representación que codifica las prácticas del día a día &-es decir, las recurrentes formas de interacción a través de la cuales los individuos funcionan en el interior una estructura social específica.
This essay analyzes representations of the everyday in the Madrid cityscape from the beginning of the 1980s until the mid 1990s. During the Transition, Spanish cinema started to explore forms of interaction that negotiated recently born stimuli and social, economic and ideological formations, displaying as strong commitment to the representation of social reality and, more specifically, the marginalized. From the late 1980s to the mid 1990s, filmmakers tackle a social fabric characterized by a «presentism» that leaves behind a productive commitment to recent Spanish history and the capacity of the citizenry to decisively intervene within the constitutive pillars of social reality. In the studied period, Spanish cinema encounters an everflowing social, approaching it from different perspectives, turning into a representational mechanism that codifies the practices of the everyday –that is, the recurrent forms of interaction through which individuals function with a given social structure.
This essay analyzes representations of the everyday in the Madrid cityscape from the beginning of the 1980s until the mid 1990s. During the Transition, Spanish cinema started to explore forms of interaction that negotiated recently born stimuli and social, economic and ideological formations, displaying as strong commitment to the representation of social reality and, more specifically, the marginalized. From the late 1980s to the mid 1990s, filmmakers tackle a social fabric characterized by a «presentism» that leaves behind a productive commitment to recent Spanish history and the capacity of the citizenry to decisively intervene within the constitutive pillars of social reality. In the studied period, Spanish cinema encounters an everflowing social, approaching it from different perspectives, turning into a representational mechanism that codifies the practices of the everyday –that is, the recurrent forms of interaction through which individuals function with a given social structure.
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Madrid, Espacio urbano, Cine español, Eloy de la Iglesia, Fernando Colomo, Carlos Saura, Montxo Armendáriz, Transición, Post-Transición, Sociedad española, Madrid, urban space, Spanish cinema, Eloy de la Iglesia, Fernando Colomo, Carlos Saura, Montxo Armendáriz, Transition, Post-Transition, Spanish society
Bibliographic citation
Cahiers de civilisation espagnole contemporaine. N. 13 (2014)