O cinema e a querela de memórias do franquismo na Espanha contemporânea : os casos de silencio roto e el laberinto del fauno

• Ano de defesa: 2013
• Autor(a) principal: Hypólito, Bruno Kloss
• Orientador(a): Paredes, Marçal de Menezes
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica do Rio Grande do Sul
• Programa de Pós-Graduação: Programa de Pós-Graduação em História
• Departamento: Faculdade de Filosofia e Ciências Humanas
• País: BR
• Palavras-chave em Português: ESPANHA - HISTÓRIA - GUERRA CIVIL; MEMÓRIA - ASPECTOS SOCIAIS; CINEMA - ASPECTOS SOCIAIS; CINEMA E POLÍTICA
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS::HISTORIA
• Link de acesso: http://tede2.pucrs.br/tede2/handle/tede/2461

The approval of Historical Memory Law happened in a time of troubled political and social regarding the memories of the victims of the Spanish Civil War and and Francoism. This complaint about the losers memories has been treated since the Democratic Transition, started after Francisco Franco s death in 1975. Cinema, as cultural demonstration, was used throughout all Francoism either to legitimate the State speeches or to contest them. With the consolidation of democracy in Spain, it was not different: many film productions continued building their own narratives about the recent past of the country. Thus, the present term paper aims at analyzing how the films Silencio Roto (Montxo Armendáriz, 2001) and El Laberinto del Fauno (Guillermo del Toro, 2006), through the respective representations about the Francoist repression against guerrilla Maquis in the first years of the Spanish dictatorship, they acquire other meanings when analyzed in their corresponding production contexts. Through the film analysis, it was searched in the intrafilmic elements (present representations in the sequences, scenes and characters) and extrafilmic analysis (details about the production and its context) evidences about the movie makers positioning regarding Duty of Memory in Spain. From this point, conter-analysis has allowed inserting both films in the political and social debate about the dispute of memories in Spain in the 2000s. The importance of this research lies in the usage of film source as an analysis object, as well as its approach with questions regarding Memory areas which allow a narrative juxtaposition with historiography.