Home > Research > Publications & Outputs > Cine de choque

Research

Associated organisational unit

Links

Text available via DOI:

Keywords

View graph of relations

Cine de choque: image culture, the absence of the patriarch and violence in Alejandro Amenábar's "Abre los ojos" (1997)

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

Published

Standard

Cine de choque: image culture, the absence of the patriarch and violence in Alejandro Amenábar's "Abre los ojos" (1997). / Thakkar, Amit.
In: New Cinemas, Vol. 9, No. 1, 01.06.2011, p. 19-34.

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

Harvard

Thakkar, A 2011, 'Cine de choque: image culture, the absence of the patriarch and violence in Alejandro Amenábar's "Abre los ojos" (1997)', New Cinemas, vol. 9, no. 1, pp. 19-34. https://doi.org/10.1386/ncin.9.1.19_1

APA

Thakkar, A. (2011). Cine de choque: image culture, the absence of the patriarch and violence in Alejandro Amenábar's "Abre los ojos" (1997). New Cinemas, 9(1), 19-34. https://doi.org/10.1386/ncin.9.1.19_1

Vancouver

Thakkar A. Cine de choque: image culture, the absence of the patriarch and violence in Alejandro Amenábar's "Abre los ojos" (1997). New Cinemas. 2011 Jun 1;9(1):19-34. doi: 10.1386/ncin.9.1.19_1

Author

Thakkar, Amit. / Cine de choque : image culture, the absence of the patriarch and violence in Alejandro Amenábar's "Abre los ojos" (1997). In: New Cinemas. 2011 ; Vol. 9, No. 1. pp. 19-34.

Bibtex

@article{8d205172c41541e4b1029e6580ba7098,
title = "Cine de choque: image culture, the absence of the patriarch and violence in Alejandro Amen{\'a}bar's {"}Abre los ojos{"} (1997)",
abstract = "This article proposes that Alejandro Amen{\'a}bar's Abre los ojos (1997) is an example of what I term cine de choque, a specifically Hispanophone category of film in which the word choque – translatable as “crash”, “shock” or “clash” in English – informs both theme and aesthetics. In this particular example of cine de choque, an aesthetic is created on the basis of a structure in which lulls are almost as important as the film's crash, shocks and clashes. The film's lull–choque–lull aesthetic, I argue, emphasizes the allure of image and false explanations in the life of the protagonist C{\'e}sar. This allure is partly explained by the absence of authoritative, patriarchal figures: both his parents are dead and the older male figures which compete for his attention prove to be unreliable. The resulting evocation of a culturally and historically orphaned youth culture in Spain helps to contextualize the film's acts of violence.",
keywords = "Crash, Film studies, aesthetics, violence, Spain, Patriarchy, Image, Choque",
author = "Amit Thakkar",
year = "2011",
month = jun,
day = "1",
doi = "10.1386/ncin.9.1.19_1",
language = "English",
volume = "9",
pages = "19--34",
journal = "New Cinemas",
publisher = "Intellect Publishers",
number = "1",

}

RIS

TY - JOUR

T1 - Cine de choque

T2 - image culture, the absence of the patriarch and violence in Alejandro Amenábar's "Abre los ojos" (1997)

AU - Thakkar, Amit

PY - 2011/6/1

Y1 - 2011/6/1

N2 - This article proposes that Alejandro Amenábar's Abre los ojos (1997) is an example of what I term cine de choque, a specifically Hispanophone category of film in which the word choque – translatable as “crash”, “shock” or “clash” in English – informs both theme and aesthetics. In this particular example of cine de choque, an aesthetic is created on the basis of a structure in which lulls are almost as important as the film's crash, shocks and clashes. The film's lull–choque–lull aesthetic, I argue, emphasizes the allure of image and false explanations in the life of the protagonist César. This allure is partly explained by the absence of authoritative, patriarchal figures: both his parents are dead and the older male figures which compete for his attention prove to be unreliable. The resulting evocation of a culturally and historically orphaned youth culture in Spain helps to contextualize the film's acts of violence.

AB - This article proposes that Alejandro Amenábar's Abre los ojos (1997) is an example of what I term cine de choque, a specifically Hispanophone category of film in which the word choque – translatable as “crash”, “shock” or “clash” in English – informs both theme and aesthetics. In this particular example of cine de choque, an aesthetic is created on the basis of a structure in which lulls are almost as important as the film's crash, shocks and clashes. The film's lull–choque–lull aesthetic, I argue, emphasizes the allure of image and false explanations in the life of the protagonist César. This allure is partly explained by the absence of authoritative, patriarchal figures: both his parents are dead and the older male figures which compete for his attention prove to be unreliable. The resulting evocation of a culturally and historically orphaned youth culture in Spain helps to contextualize the film's acts of violence.

KW - Crash

KW - Film studies

KW - aesthetics

KW - violence

KW - Spain

KW - Patriarchy

KW - Image

KW - Choque

U2 - 10.1386/ncin.9.1.19_1

DO - 10.1386/ncin.9.1.19_1

M3 - Journal article

VL - 9

SP - 19

EP - 34

JO - New Cinemas

JF - New Cinemas

IS - 1

ER -