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Blood of an Innocent: Montxo Armendriz's Silencio Roto (2001) and Guillermo del Toro's El laberinto del fauno (2006)

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Blood of an Innocent: Montxo Armendriz's Silencio Roto (2001) and Guillermo del Toro's El laberinto del fauno (2006). / Camino, Mercedes.
In: Studies in Hispanic Cinemas, Vol. 6, No. 1, 2009, p. 45-64.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Camino, M 2009, 'Blood of an Innocent: Montxo Armendriz's Silencio Roto (2001) and Guillermo del Toro's El laberinto del fauno (2006)', Studies in Hispanic Cinemas, vol. 6, no. 1, pp. 45-64. https://doi.org/10.1386/shci.6.1.45/1

APA

Camino, M. (2009). Blood of an Innocent: Montxo Armendriz's Silencio Roto (2001) and Guillermo del Toro's El laberinto del fauno (2006). Studies in Hispanic Cinemas, 6(1), 45-64. https://doi.org/10.1386/shci.6.1.45/1

Vancouver

Camino M. Blood of an Innocent: Montxo Armendriz's Silencio Roto (2001) and Guillermo del Toro's El laberinto del fauno (2006). Studies in Hispanic Cinemas. 2009;6(1):45-64. doi: 10.1386/shci.6.1.45/1

Author

Camino, Mercedes. / Blood of an Innocent : Montxo Armendriz's Silencio Roto (2001) and Guillermo del Toro's El laberinto del fauno (2006). In: Studies in Hispanic Cinemas. 2009 ; Vol. 6, No. 1. pp. 45-64.

Bibtex

@article{fc56d657b35c4f41847d48196445c373,
title = "Blood of an Innocent: Montxo Armendriz's Silencio Roto (2001) and Guillermo del Toro's El laberinto del fauno (2006)",
abstract = "Guillermo del Toro's El laberinto del fauno/Pan's Labyrinth and Montxo Armend{\'a}riz's Silencio roto/Broken Silence foreground the desertion of the Spanish maquis by international forces and the important role played by those supporting the guerrilla: their puntos de apoyo or enlaces. Through the characterization of enlaces, such as Mercedes and Luc{\'i}a, these films pay homage to those whose resistance to fascism was traditionally backgrounded. At the same time, the viewers' empathy with these women enables the directors to vindicate the dislocated memories of their real-life inspirations: the campesinos who were tortured and murdered for offering support to the maquis. Above all, the use of Luc{\'i}a or Mercedes as points of identification for the audiences enables the directors to reconcile both militant and pacifist views of the guerrilla. The courage and dignity of these characters, as well as their {\textquoteleft}broken silences{\textquoteright}, vindicate them as the unsung heroes of the war's aftermath.",
keywords = "Guillermo del Toro, Montxo Armend{\'a}riz , maquis , historical memory ",
author = "Mercedes Camino",
year = "2009",
doi = "10.1386/shci.6.1.45/1",
language = "English",
volume = "6",
pages = "45--64",
journal = "Studies in Hispanic Cinemas",
publisher = "Intellect Publishers",
number = "1",

}

RIS

TY - JOUR

T1 - Blood of an Innocent

T2 - Montxo Armendriz's Silencio Roto (2001) and Guillermo del Toro's El laberinto del fauno (2006)

AU - Camino, Mercedes

PY - 2009

Y1 - 2009

N2 - Guillermo del Toro's El laberinto del fauno/Pan's Labyrinth and Montxo Armendáriz's Silencio roto/Broken Silence foreground the desertion of the Spanish maquis by international forces and the important role played by those supporting the guerrilla: their puntos de apoyo or enlaces. Through the characterization of enlaces, such as Mercedes and Lucía, these films pay homage to those whose resistance to fascism was traditionally backgrounded. At the same time, the viewers' empathy with these women enables the directors to vindicate the dislocated memories of their real-life inspirations: the campesinos who were tortured and murdered for offering support to the maquis. Above all, the use of Lucía or Mercedes as points of identification for the audiences enables the directors to reconcile both militant and pacifist views of the guerrilla. The courage and dignity of these characters, as well as their ‘broken silences’, vindicate them as the unsung heroes of the war's aftermath.

AB - Guillermo del Toro's El laberinto del fauno/Pan's Labyrinth and Montxo Armendáriz's Silencio roto/Broken Silence foreground the desertion of the Spanish maquis by international forces and the important role played by those supporting the guerrilla: their puntos de apoyo or enlaces. Through the characterization of enlaces, such as Mercedes and Lucía, these films pay homage to those whose resistance to fascism was traditionally backgrounded. At the same time, the viewers' empathy with these women enables the directors to vindicate the dislocated memories of their real-life inspirations: the campesinos who were tortured and murdered for offering support to the maquis. Above all, the use of Lucía or Mercedes as points of identification for the audiences enables the directors to reconcile both militant and pacifist views of the guerrilla. The courage and dignity of these characters, as well as their ‘broken silences’, vindicate them as the unsung heroes of the war's aftermath.

KW - Guillermo del Toro

KW - Montxo Armendáriz

KW - maquis

KW - historical memory

U2 - 10.1386/shci.6.1.45/1

DO - 10.1386/shci.6.1.45/1

M3 - Journal article

VL - 6

SP - 45

EP - 64

JO - Studies in Hispanic Cinemas

JF - Studies in Hispanic Cinemas

IS - 1

ER -