The Two cines con niño Genre and the Child Protagonist in Over Fifty Years of Spanish Film (1955-2010)

The Two cines con niño is the first genre study of Spanish-language child-starred cinemas. It illuminates continuities in the political use of the child protagonist in over fifty years of Spanish cinema and how the child-starred genres use the concept of childhood to retrospectively define the nation and its future. From Francoist popular to oppositional auteur films, and including Spanish and Latin American cinema, this monograph examines commonalities in aesthetics, narratives and genre functions. It demonstrates the impact of these narratives within Spanish film history and Francoist biopolitics, as well as providing a broader transatlantic perspective on the genre in select productions from Chile and Argentina.

Erin Hogan is an Assistant Professor of Spanish at the University of Maryland, Baltimore County. Dr. Hogan's scholarship on the construction of childhood in Hispanic literary, visual and cinematic arts since the eighteenth century has appeared in 'Studies in Spanish and Latin American Cinemas', 'Hispanic Research Journal' and 'The Comparatist', along with edited volumes.

ACKNOWLEDGEMENTS

LIST OF ILLUSTRATIONS

INTRODUCTION. The Two cines con niño: The Ventriloquism, Dialogism and Biopolitics of the Children of Franco in Genre Film

CHAPTER ONE. The Black Market and the Stolen Children of Franco in Demonios en el jardín (Gutiérrez Aragón 1982)

CHAPTER TWO. The Appropriative and Carnivalesque Ventriloquism of Altar Boys from Joselito in El pequeño ruiseñor (del Amo 1956) to Ignacio in La mala educación (Almodóvar 2004)

CHAPTER THREE. Ventriloquism, Kidnapping and the Carnivalesque in Marisol's Tómbola (Lucía 1962)

CHAPTER FOUR. Adopting, Adapting, Appropriating in the cines con niño: Un rayo de luz (Lucía 1960) and El viaje de Carol (Uribe 2002)

CHAPTER FIVE. Prosopopeia and the Gothic Child from Marcelino pan y vino (Vajda 1955) to El orfanato (Bayona 2007)

CHAPTER SIX. Dialogism and Ritual Function of the nuevo cine con niño: El espíritu de la colmena (Erice 1973), Secretos del corazón (Armendáriz 1997) and El laberinto del fauno (Del Toro 2006)

CHAPTER SEVEN. Queering Postwar Childhood in Urte ilunak (Lazkano 1992) and Pa negre (Villaronga 2010)

CHAPTER EIGHT. The Transatlantic Dialogism in Narrative and Aesthetics of Bildungsfilms: La lengua de las mariposas (Cuerda 1999 Spain) & Machuca (Wood 2004 Chile), El espíritu de la colmena (Erice 1973 Spain) & El premio (Markovitch 2011 Argentina-Mexico), El laberinto del fauno (Del Toro 2006 Spain-Mexico) & Infancia clandestina (Ávila 2011 Argentina)

CONCLUSION. Spanish Movies: Genre, Nation and Spanish Movie (Ruiz Caldera 2009)

SELECT FILMOGRAPHY

BIBLIOGRAPHY