EL FUTURO DE LA JUVENTUD DE EL FUTURO, DE LUIS LÓPEZ CARRASCO
This article intervenes in the fields of cultural studies and Spanish film studies drawing significantly from the cultural analysis recently undertaken by Luis Moreno-Caballud and Germán Labrador about the relation between two Spanish historical moments: the Transition period and the economic crisis. To this end, the article analyzes the film, El futuro (Luis López Carrasco, 2013), which bridges the two historical periods through a portrayal of youth culture. From the point of view of cultural studies, this article places El Futuro in conversation with the critical discourse about the Culture of the Transition (CT) heralded by the 15M movement. It centers on the concept of youth without a future, an idea that travels retrospectively through López Carrasco’s narrative to the generation of la movida, whose emancipatory political horizon was frustrated by its political-economic context. Applying film studies tools, this article critiques the dominant theorization of Other Spanish Cinema. Where this label, applied to films like El Futuro, typically implies a focus on aesthetics, this article explores their political dimension and places both Luis López Carrasco and the Los Hijos Collective (to which Carrasco belongs) within an avante-gardist lineage.
El presente artículo propone intervenciones en los estudios culturales y los estudios fílmicos españoles bebiendo fundamentalmente de los análisis culturales recientes de Luis Moreno-Caballud y de Germán Labrador sobre los periodos de la Transición y la crisis económica en España. Para ello, el texto se detiene en la película El futuro (Luis López Carrasco, 2013), la cual permite articular un puente entre los dos periodos históricos a partir de la narración de una fiesta que ilustra un retrato generacional de la juventud. Desde el punto de vista de los estudios culturales, se relaciona la cinta de López Carrasco con el discurso crítico sobre la Cultura de la Transición (CT) enarbolado por el movimiento 15M. A este respecto, el artículo se centra en el concepto de juventud sin futuro, una idea que viaja retrospectivamente de la mano de López Carrasco hasta la generación de la movida en relación a su potencial emancipador frustrado por el contexto político-económico. Aplicando herramientas de los estudios fílmicos, este texto critica el proceso de teorización del Otro cine español, etiqueta que se aplicó a películas como El futuro, puesto que se centra mayoritariamente en aspectos estéticos, dejando de lado la dimensión política que tradicionalmente han tenido las intervenciones del cine de vanguardia, al que se adscriben tanto Luis López Carrasco como el colectivo Los Hijos (del cual forma parte el director).
Copyright (c) 2019 Irene Mizrahi
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