The representation of the forest in Koldo Serra’s Bosque de sombras (2006)

• Paul Mitchell ^[1]
  1. [1] Universidad Católica de Valencia San Vicente Mártir

     Universidad Católica de Valencia San Vicente Mártir

     Valencia, España

     
• Localización: Catalan journal of communication & cultural studies, ISSN 1757-1898, Vol. 7, Nº. 1, 2015, págs. 89-97
• Idioma: inglés
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• Dialnet Métricas: 2 Citas
• Resumen

  • In this article, I undertake an analysis of the Spanish film, Bosque de sombras/The Backwoods in order to explore the shifting representations of the forest in the national cinema. I suggest that, during the dictatorship and the period of the transition following Franco’s death, the forest was utilized by film-makers as a site in which to express subversive political ideas. In the twentieth century, this rich tradition continues and yet, as the film which is used here as a case study demonstrates, with a significantly altered perspective. Rather than returning to the same denunciation of Falangist policies that had been the hallmark of much earlier Spanish cinema, el cine del bosque has now become a medium through which film-makers can explore more contemporary anxieties about masculine and regional/national identities, a focus of particular interest, given the current debate about an independent Catalan state.