Un canon en transición. Tradición, entusiasmo y desencanto en la revista Casablanca (1981-1985)

  1. Fernando Ramos Arenas 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Journal:
Archivos de la filmoteca: revista de estudios históricos sobre la imagen

ISSN: 0214-6606

Year of publication: 2020

Issue Title: El pasado en la historia. El canon en el cine español

Issue: 78

Pages: 95-108

Type: Article

More publications in: Archivos de la filmoteca: revista de estudios históricos sobre la imagen

Abstract

Founded by the director Fernando Trueba after the success of his first feature film Ópera Prima (1980), the film journal Casablanca. Papeles de cine (1981-1985) has been traditionally seen as an epigone of the main Spanish film magazines from the 1960s and 1970s. The canon presented in the articles on its pages can be therefore considered a contemporary revision of the one forged in publications such as, in the Spanish context, Film Ideal (1956-1970) or Dirigido por (since 1972). The present text goes beyond this premise and offers an interpretation of Casablanca as one of the late examples of this tradition but also as a symptom of a certain way of approaching the cinematographic experience that was closely related to the cultural changes brought about by the Spanish transition to democracy and that would become very significant in the national debate during the following decades. This article will therefore firstly outline the main characteristics of the magazine’s canon based on those works and filmmakers especially present on its pages —both in the texts interested in film historical questions and those addressing more contemporary issues—. The following section will focus on the tone in which this critical discourse was formulated, which can be seen as part of a strategy to make the difference from other publications (a strong rejection of the analytical specialization and the political compromise as basis of the critical discourse) and also as an early symptom of the national film critical discourse in the following decades.

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