Publication: En un lugar de España de cuyo nombre no quiero acordarme...
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2017
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Abstract
Las imágenes que graba Orson Welles para su inacabada adaptación cinematográfica Don
Quijote de La Mancha representan las acciones del héroe caballeresco en la España de la década
de los sesenta. Las aventuras de sus protagonistas pasan de la era de Cervantes al siglo
XX, modernizándolas de esta manera. Welles graba las imágenes de su obra en la década de
los sesenta, construyendo escenarios históricos de una España exportada por su turismo como
base económica de una aparente apertura que se contrapone a la realidad de una sociedad dictatorial.
Las imágenes del Quijote de Welles son recogidas en la película Don Quijote de Orson
Welles por el director Jess Franco, que realizó su montaje por encargo de la Junta de Andalucía,
la Filmoteca Española y el Ministerio de Artes Visuales. La película de Welles también
hace posible un análisis contrastivo con la manera en que el gobierno democrático español
construye el espacio cultural de la producción/montaje de estas escenas, la España democrática
del992 con la celebración del quinto centenario del descubrimiento de América en el
que se organizan los eventos de la Expo de Sevilla, los XXV Juegos Olímpicos en Barcelona,
y Madrid como capital europea. Todos son actos culturales de repercusión mundial, cuyo objetivo
es lanzar al extranjero una imagen moderna de España frente a la constituida a través
del turismo por el gobierno dictatorial franquista en los años sesenta.
The images that Orson Welles use for his unfinished film Don Quijote de la Mancha, represent the actions of the chivalrous hero in 1960's Spain. The adventures of the protagonists move from the era of Cervantes through the 20th century, modernizing them in the process. Welles uses images of his work in the 1960s, constructing historical scenarios of Spain exported for tourism and an economic basis of an apparent opening that was contrary the reality of a dictatorial society. The images of Quijote by Welles are collected in the movie Don Quijote de Orson Welles by director Jess Franco, who made his assembly on behalf of the Spanish Film Library and Department of Visual Arts for the Andalusian regional government. Welle's movie also enables a contrastive analysis with the way in which the democratic Spanish government constructs the cultural space of the production in these scenes. This is noted with democratic Spain' s celebration of the 5th centenary of the discovery of America in 1992, where the Seville Expo was the centerpiece, the 25th Olympic Games in Barcelona, and Madrid' s status as a European capital of culture. All of these are cultural events with a global impact, whose objective is to launch abroad the image of a modern Spain built through the dictatorial Francoist government's tourism policies of the 1960s.
The images that Orson Welles use for his unfinished film Don Quijote de la Mancha, represent the actions of the chivalrous hero in 1960's Spain. The adventures of the protagonists move from the era of Cervantes through the 20th century, modernizing them in the process. Welles uses images of his work in the 1960s, constructing historical scenarios of Spain exported for tourism and an economic basis of an apparent opening that was contrary the reality of a dictatorial society. The images of Quijote by Welles are collected in the movie Don Quijote de Orson Welles by director Jess Franco, who made his assembly on behalf of the Spanish Film Library and Department of Visual Arts for the Andalusian regional government. Welle's movie also enables a contrastive analysis with the way in which the democratic Spanish government constructs the cultural space of the production in these scenes. This is noted with democratic Spain' s celebration of the 5th centenary of the discovery of America in 1992, where the Seville Expo was the centerpiece, the 25th Olympic Games in Barcelona, and Madrid' s status as a European capital of culture. All of these are cultural events with a global impact, whose objective is to launch abroad the image of a modern Spain built through the dictatorial Francoist government's tourism policies of the 1960s.
Description
Actas del V Congreso Internacional de Historia y Cine celebrado en la Universidad Carlos III de Madrid del 5 al 7 de Septiembre de 2016.
Keywords
Cine, Cine histórico, Adaptación cinematográfica, Orson Welles, Don Quijote, Dictadura española, Jess Franco, 1992, Film Adaptation, Don Quixote, Spanish Dictatorship
Bibliographic citation
V Congreso Internacional de Historia y Cine: Escenarios del cine histórico (V, 2016, Getafe). Gloria Camarero Gómez, Francesc Sánchez Barba (eds.). Getafe: Universidad Carlos III de Madrid, Instituto de Cultura y Tecnología, 2017, pp. 1295-1304