Abstract
Spanish cinema that deals with issues of the crisis has generally used Aristotelian poetics to focus on the precarious situation of those affected and thus appeal to the empathy of viewers. In this respect, it has shown great sensitivity to social dynamics. Although the economic crisis is the main driving force behind these, the complexity of the representation of economic issues, however, ...
Abstract
Spanish cinema that deals with issues of the crisis has generally used Aristotelian poetics to focus on the precarious situation of those affected and thus appeal to the empathy of viewers. In this respect, it has shown great sensitivity to social dynamics. Although the economic crisis is the main driving force behind these, the complexity of the representation of economic issues, however, falls far short of the level at which personal relationships are portrayed. It seems that this lack of will and interest in these issues reflects a long tradition of intellectual thought, which despises economics and demonizes money. The article looks at a handful of titles that do take a more ambitious approach to the workings of the (economic) system, including such notable films as El reino and La mano invisible. The titles are characterised by the fact that they abandon or enrich Aristotelian poetics for narrative strategies anchored in epic theatre.
Altmetric