El extraño viaje (to nowhere) by Fernando Fernán-Gómez
Bakhtin to Camilo José Cela via Baudelaire and Valle-Inclán
DOI:
https://doi.org/10.24310/Fotocinema.2023.vi26.15319Keywords:
Spanish Cinema, Bakhtin, Esperpento, Black Humor, Canival, GrotesqueAbstract
El extraño viaje (1964) by Fernando Fernán-Gómez is an exceptional example within that fertile current of Spanish cinema that prolongs a cultural tradition that is deeply rooted among us, for which esperpento and black humor are key notions. But besides being a very worthy heir to that grotesque side of Spanish popular culture cultivated, among others, by authors like Quevedo, Arniches and Valle-Inclán or painters like Goya and Solana, Fernán-Gómez's film is also a work crossed by foreign influences, Alfred Hitchcock's cinema being one of the most productive. In order to clarify to what extent El extraño viaje prolongs this tradition of the grotesque esperpento while at the same time allowing itself to be contaminated by contemporary cinema from abroad, this article analyzes the film in detail in the light of a series of notions coined by Mijail Bakhtin (dialogism, chronotope, carnivalesque, refiguration or ambivalent laughter) and the ideas of other authors who have reflected on the special predilection of the Spanish people for a certain type of humor, such as Camilo José Cela, Charles Baudelaire or Valle-Inclán himself
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