Diosas, rameras y esposas villanas en los thrillers aberrantes de Eloy de la Iglesia

  1. Nicolás Grijalba de la Calle 1
  1. 1 Universidad Nebrija
    info

    Universidad Nebrija

    Madrid, España

    ROR https://ror.org/03tzyrt94

Revista:
Trama y fondo: revista de cultura

ISSN: 1137-4802

Año de publicación: 2016

Título del ejemplar: Las infinitas formas de la Diosa

Número: 40

Páginas: 167-178

Tipo: Artículo

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Otras publicaciones en: Trama y fondo: revista de cultura

Resumen

Eloy de la Iglesia, one of the most unclassifiable directors of the Spanish cinema, obtained the popular recognition by cultivating the aspect of the Transition cinema, popularly known as 'Quinqui cinema'. However, far from this particular costumbrist sub-genre, the Basque filmmaker worked in previous years on a type of psychological thriller, bordering the Italian giallo, using an aberrant style and slender appearance which reformulated the masculine and feminine roles of our cinematography. In No One Heard the Scream, released in 1973, De la Iglesia proposes a story of abrupt intrigue where the feminine characters rebel against the established order with honest clumsiness. From that moment on, the purely melodramatic becomes sinister in a world that is already definitely feminine.

Fuente de los datos: Dialnet