Semantic dissonances and discursive challenges in the (apparently) religious cinema of Nieves Conde: the case of Balarrasa (1950)

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Published 30-11-2017
DOI https://doi.org/10.1387/zer.18115
Rubén Higueras Flores
Universidad Complutense de Madrid
http://orcid.org/0000-0002-7849-9791

Abstract

The present text deals with the semantic and discursive richness of Balarrasa through the detailed textual analysis of the feature film, revealing how its religious thematic is problematized through insistent enunciative comments that critically distant its discourse from the standard reading pattern. Our intention is to show the internal tensions that run through the filmic text, whose discursive epicenter is tangentially displaced towards social and moral issues while outlining subaltern themes that complicate the apparent simplicity and schematism of its argument.

How to Cite

Higueras Flores, R. (2017). Semantic dissonances and discursive challenges in the (apparently) religious cinema of Nieves Conde: the case of Balarrasa (1950). ZER - Journal of Communication Studies, 22(43). https://doi.org/10.1387/zer.18115
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References
Company, J. M. (2003). Torturas del espíritu. A propósito de Angustia (1947) y Balarrasa (1950). En J. L. Castro De Paz y J. Pérez Perucha (coords.), Tragedia e ironía: el cine de Nieves Conde (pp. 19-27). Ourense: Caixa Galicia.

Gubern, R. (1981). La Censura. Función política y ordenamiento jurídico bajo el franquismo (1936-1975). Barcelona: Península.

Llinás, F. (1995). José Antonio Nieves Conde. El oficio de cineasta. Valladolid: Seminci.

Losada, M. (2011). The Rebranding Of Francoism's Originary Violence In José Antonio Nieves Conde's Balarrasa. Romance Notes, 51 (2). doi: 257-265.10.1353/rmc.2011.000
Issue
Vol. 22 No. 43 (2017)
Section
Articles

(c) UPV/EHU Press