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This chapter offers close readings of four audiovisual works. This corpus has two examples each of two genres: urban comedy and rural tragedy. Mariano Ozores’ popular farce Sor Metiche/Unos granujas decentes (“Sister Nosy Parker”/ “Respectable Rogues,” 1980), anticipates Pedro Almodóvar’s dramedy Entre tinieblas (“Dark Habits,” 1983) in its convent location and juxtaposition of a nun and a showgirl. Mario Camus’ literary adaptation Los santos inocentes (“The Holy Innocents,” 1984), located in a wealthy Francoist household obsessed with hunting, is reframed by Manolo Caro as the Netflix original Alguien tiene que morir (“Someone Has to Die,” 2020). The theme of the Mexican visitor to Spain is central to the first and last of my texts. The chapter also appeals to Michel Foucault’s essay “Nietzsche, Genealogy, History” and his writings on film to sketch a new version of Mexican-Spanish media history.

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Mexicans in Madrid: Ozores and Almodóvar, Camus and Caro

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  • 发表日期：

    2025年

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  • Paul Julian Smith

摘要

This chapter offers close readings of four audiovisual works. This corpus has two examples each of two genres: urban comedy and rural tragedy. Mariano Ozores’ popular farce Sor Metiche/Unos granujas decentes (“Sister Nosy Parker”/ “Respectable Rogues,” 1980), anticipates Pedro Almodóvar’s dramedy Entre tinieblas (“Dark Habits,” 1983) in its convent location and juxtaposition of a nun and a showgirl. Mario Camus’ literary adaptation Los santos inocentes (“The Holy Innocents,” 1984), located in a wealthy Francoist household obsessed with hunting, is reframed by Manolo Caro as the Netflix original Alguien tiene que morir (“Someone Has to Die,” 2020). The theme of the Mexican visitor to Spain is central to the first and last of my texts. The chapter also appeals to Michel Foucault’s essay “Nietzsche, Genealogy, History” and his writings on film to sketch a new version of Mexican-Spanish media history.