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A Post-National Spanish Imaginary. A Case-Study: Pan's Labyrinth

A Post-National Spanish Imaginary. A Case-Study: Pan's Labyrinth fRaNCiSCo J. SáNCheZ A Post-National Spanish Imaginary ACase-Study:Pan's Labyrinth The acclaimed film Pan's Labyrinth (El laberinto del fauno, 2006, directed by Mexican filmmaker Guillermo del Toro) portrays the repression of democratic resistance (the maquis) during the years that followed Franco's victory over the Spanish Republic in 1939. The film focuses on a sadistic military officer and his determination to kill and torture people, and on a child, his stepdaughter, who rebels and escapes to a world of fantasy. In the following pages I argue that the narrative of Pan's Labyrinth presents a reconsideration of State-sponsored Fascist repression in terms of a male-dominated order. I argue that this portrayal implies a displacement of the political nature of totalitarian violence from questions regarding the nation-State to the sphere of a cultural region. I further argue, then, that Pan's Labyrinth belongs to what Paul Julian Smith has called a "Trans-Atlantic traffic." Crossnational production companies, film-makers and actors are creating a flux of films that do not identify strictly as a national product, but rather a circuit of production, exchange and distribution (Smith). The displacement from the nation permits us to raise important considerations regarding the current status of the notion of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

A Post-National Spanish Imaginary. A Case-Study: Pan's Labyrinth

The Comparatist , Volume 36 (1) – May 19, 2012

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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887
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Abstract

fRaNCiSCo J. SáNCheZ A Post-National Spanish Imaginary ACase-Study:Pan's Labyrinth The acclaimed film Pan's Labyrinth (El laberinto del fauno, 2006, directed by Mexican filmmaker Guillermo del Toro) portrays the repression of democratic resistance (the maquis) during the years that followed Franco's victory over the Spanish Republic in 1939. The film focuses on a sadistic military officer and his determination to kill and torture people, and on a child, his stepdaughter, who rebels and escapes to a world of fantasy. In the following pages I argue that the narrative of Pan's Labyrinth presents a reconsideration of State-sponsored Fascist repression in terms of a male-dominated order. I argue that this portrayal implies a displacement of the political nature of totalitarian violence from questions regarding the nation-State to the sphere of a cultural region. I further argue, then, that Pan's Labyrinth belongs to what Paul Julian Smith has called a "Trans-Atlantic traffic." Crossnational production companies, film-makers and actors are creating a flux of films that do not identify strictly as a national product, but rather a circuit of production, exchange and distribution (Smith). The displacement from the nation permits us to raise important considerations regarding the current status of the notion of

Journal

The ComparatistUniversity of North Carolina Press

Published: May 19, 2012

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