| Título |
Mirar Madrid: Areta y el paisaje urbano en la trilogía El crack de José Luis Garci |
| Autores |
Illán A.M. , MUÑOZ GARNICA, MIGUEL |
| Publicación externa |
No |
| Medio |
REVISTA DE COMUNICACION-PERU |
| Alcance |
Article |
| Naturaleza |
Científica |
| Cuartil SJR |
1 |
| Impacto SJR |
0.585 |
| Web |
https://www.scopus.com/inward/record.uri?eid=2-s2.0-85173991767&doi=10.26441%2fRC22.2-2023-3180&partnerID=40&md5=5a27cda205daa081b1c71b2fb55edd08 |
| Fecha de publicacion |
01/01/2023 |
| Scopus Id |
2-s2.0-85173991767 |
| DOI |
10.26441/RC22.2-2023-3180 |
| Abstract |
El crack (1981), El crack dos (1983) and El crack cero (2019) by José Luis Garci make up a trilogy that adapts the genre of American film noir to Madrid\'s reality during the Transition, spanning from the months before the death of Francisco Franco until 1982. This article analyzes what we consider to be the main expressive key of the three titles: the visual continuity and complementarity between Germán Areta, the leading detective, and Madrid\'s views. We detected two aesthetic patterns sustained throughout the trilogy: the urban landscape shots presented in an internal dialogue with Areta\'s gaze and the non-narrative successions of pictures of the city, where there\'s no depiction of the protagonist. Both resources allow us to deploy a textual analysis of the films to illustrate how that city-character progression is built, typical of classic film noir but much more radical in the hands of Garci. © 2023 University of Piura. All rights reserved. |
| Palabras clave |
El crack; film noir; José Luis Garci; Madrid in cinema; spanish cinema; spanish transition; textual analysis |
| Miembros de la Universidad Loyola |
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