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Cinema, Genealogy, History: Mariano Ozores and Pedro Almodóvar, Mario Camus and Manolo Caro

2023; Routledge; Volume: 100; Issue: 9-10 Linguagem: Inglês

10.1080/14753820.2023.2246795

1478-3428

Paul Julian Smith,

Spanish History and Politics

AbstractThis article offers close readings of four audio-visual works, covering two genres, urban comedy and rural tragedy, with two examples each. Mariano Ozores' popular farce Sor Metiche/Unos granujas decentes (1980), anticipates Almodóvar's dramedy Entre tinieblas (1983) in its convent location and juxtaposition of a nun and a showgirl. Mario Camus' literary adaptation Los santos inocentes (1984), located in a wealthy Francoist household obsessed with hunting, is reframed by Manolo Caro as the Netflix original Alguien tiene que morir (2020). This article also appeals to Foucault's essay 'Nietzsche, Genealogy, History', the anti-retro, and his writings on film.Keywords: Mariano OzoresSor Metiche/Unos granujas decentesPedro AlmodóvarEntre tinieblasMario CamusLos santos inocentesManolo CaroAlguien tiene que morir20th/21st Century Spanish CinemaMichel Foucault Notes1 Michel Foucault, 'Nietszche, Genealogy, History', in The Foucault Reader, ed. Paul Rabinow (New York: Pantheon, 1984), 76–100 (p. 76).2 See Foucault va au cinéma, ed., intro. & notes par Patrice Maniglier & Dork Zabunyan (Montrouge: Bayard, 2011).3 Foucault, 'Nietszche, Genealogy, History', 79.4 Mariano Ozores, Respetable público: como hice casi cien películas (Barcelona: Planeta, 2009 [1st ed. 2002]).5 Javier Ikaz, Disparate nacional: el cine de Mariano Ozores (Madrid: Emilio Díez García, 2015).6 Antonio Lázaro Reboll & Andrew Willis, 'Introduction: Film Studies, Spanish Cinema and Questions of the Popular', in Spanish Popular Cinema, ed. Antonio Lázaro Reboll & Andrew Willis (Manchester/New York: Manchester U. P., 2004), 1–23 (p. 4).7 Lázaro Reboll & Willis, 'Introduction', in Spanish Popular Cinema, ed. Lázaro Reboll & Willis, 5.8 Lázaro Reboll & Willis, 'Introduction', in Spanish Popular Cinema, ed. Lázaro Reboll & Willis, 6.9 See Raúl Miranda López, Del quinto poder al séptimo arte: la producción fílmica de Televisa (México D.F.: Cineteca Nacional, 2006), 14 & 144.10 Foucault, 'Nietszche, Genealogy, History', 82.11 Foucault, 'Nietszche, Genealogy, History', 81.12 Foucault, 'Nietszche, Genealogy, History', 81.13 Almodóvar on Almodóvar, ed. Frédéric Strauss (London: Faber & Faber, 2006), 32.14 Paul Julian Smith, García Lorca/Almodóvar: Gender, Nationality, and the Limits of the Visible (Cambridge: Cambridge U. P., 1995).15 Paul Julian Smith, Desire Unlimited: The Cinema of Pedro Almodóvar (London/New York: Verso, 2014), 44.16 Núria Triana-Toribio, Spanish Film Cultures: The Making & Unmaking of Spanish Cinema (London: BFI, 2016), 59.17 Triana-Toribio, Spanish Film Cultures, 60.18 Smith, Desire Unlimited, 39 & 46–47.19 Foucault, 'Nietszche, Genealogy, History', 76.20 Foucault, 'Nietszche, Genealogy, History', 83; italics in the original.21 ' "Entretien avec Michel Foucault", entretien avec P. Kané', in Foucault va au cinéma, ed. Maniglier & Zabunyan, 148–50 (p. 148).22 See Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard Nice (New York/London: Routledge & Kegan Paul, 1984 [1st French ed. 1979]), 136.23 Francesc Llinàs, Cuatro años de cine español (1983–86) (Madrid: Festival Internacional de Cine de Madrid, 1986), 95 & 98.24 Sally Faulkner, A History of Spanish Film: Cinema and Society 1910–2010 (London: Bloomsbury, 2013), 160.25 Faulkner, A History of Spanish Film, 161 & 162.26 Faulkner, A History of Spanish Film, 161.27 Faulkner, A History of Spanish Film, 163.28 Faulkner, A History of Spanish Film, 163.29 ' "Anti-Rétro", entretien avec P. Bonitzer et al.', in Foucault va au cinéma, ed. Maniglier & Zabunyan, 129–35.30 ' "Anti-Rétro", entretien avec P. Bonitzer et al.', 133; my translation.31 Foucault, 'Nietszche, Genealogy, History', 84–85.32 Foucault, 'Nietszche, Genealogy, History', 93.33 Anna Marie de la Fuente, 'Netflix Signs Up Mexico's Manolo Caro to Exclusive Multi-Year Pact', Variety, 9 May 2019, n.p.; available online at (accessed 1 July 2022).34 Elia Margarita Cornelio-Marí, 'Mexican Melodrama in the Age of Netflix: Algorithms for Cultural Proximity', Comunicación y Sociedad, 17 (2020), 1–25; available online at (accessed 15 May 2023).35 Paul Julian Smith, Reimagining History in Contemporary Spanish Media: Theater, Cinema, Television, Streaming (Cambridge: Legenda, 2021), 100.36 Foucault, 'Nietszche, Genealogy, History', 88.37 Faulkner, A History of Spanish Film, 163.38 ' "Sade, sergent du sexe", entretien avec G. Dupont', in Foucault va au cinéma, ed. Maniglier & Zabunyan, 139–43 (p. 143).39 This account can be viewed online at (accessed 16 May 2023).40 Alejandro Speitzer, (@alejandrospeitzer), Instagram post, 21 November 2020 (accessed 16 May 2023).41 Alejandro Speitzer, (@alejandrospeitzer), Instagram post, 16 October 2020 (accessed 16 May 2023). This caption has since been edited by Speitzer or his team to remove this sentence.42 Alejandro Speitzer, (@alejandrospeitzer), Instagram post, 8 February 2021 (accessed 16 May 2023).43 Alejandro Speitzer, (@alejandrospeitzer), Instagram post, 17 November 2020 (accessed 16 May 2023).44 Arturo Arnalte, Redada de violetas: la represión de los homosexuales durante el franquismo (Madrid: Esfera de los Libros, 2003).45 Foucault, 'Nietszche, Genealogy, History', 86.46 Joseph Straubhaar et al., 'Netflix, Distinction, and Cosmopolitanism among Latin American Middle Class and Elite Audiences', in their book From Telenovelas to Netflix: Transnational, Transverse Television in Latin America (London: Taylor & Francis, 2021), 203–35.47 Foucault, 'Nietszche, Genealogy, History', 88.48 Foucault, 'Nietszche, Genealogy, History', 88.* Disclosure Statement: No potential conflict of interest was reported by the author.