El eneagrama sauriano: geometrías de la memoria en el cine de Carlos Saura durante la Transición democrática española

Authors

DOI:

https://doi.org/10.15847/obsOBS12120181139

Keywords:

Cine, Carlos Saura, Memoria, Personajes, Cine Español, Cine y memoria

Abstract

El cine de Carlos Saura durante la Transición democrática española tiene un fuerte componente revisionista. La memoria y su representación impregnan un cuerpo de seis películas que pivotan sobre esa vuelta atrás que llevan a cabo los personajes saurianos. Analizados uno a uno y realizando una lectura transversal, llama la atención que responden a lo que parece ser una disposición –más o menos consciente– que se repite hasta adquirir la categoría de esquema. Lo hemos llamado “Eneagrama Sauriano” porque supone la reiteración de una serie de figuras arquetípicas cuyas funciones están al servicio de la memoria, hasta conformar algo similar a un modelo memorístico (¿extrapolable?) a cargo de un cineasta que no dejaba nada al azar en sus realizaciones. Y ese modelo, además, nos permite delinear las principales características de la memoria en el cine de Carlos Saura.

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Published

2018-03-01

How to Cite

Moran, E. P. (2018). El eneagrama sauriano: geometrías de la memoria en el cine de Carlos Saura durante la Transición democrática española. Observatorio (OBS*), 12(1). https://doi.org/10.15847/obsOBS12120181139

Issue

Vol. 12 No. 1 (2018)

Section

Articles

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