Osadía formal en tiempos de autarquía: el cine telúrico de Carlos Serrano de Osma en la década de los cuarenta

• Autores: Asier Aranzubia
• Localización: Archivos de la filmoteca: revista de estudios históricos sobre la imagen, ISSN 0214-6606, Nº 56, 2007 (Ejemplar dedicado a: De la vanguardia al realismo: poéticas de pasaje; Carlos Serrano de Osma: la alternativa telúrica), págs. 98-113
• Idioma: español
• Títulos paralelos:
  • Brash formalism in autarchic times: Carlos Serrano de Osma’s telluric films of the 1940s
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• Resumen

  • This article examines the first phase in the career of Carlos Serrano de Osma. The director describes this phase, which includes his first four films Abel Sánchez (1946), Embrujo (1947), La sirena negra (1947) y La sombra iluminada (1948), as telluric. On one hand, these films are a daring appropriation of Orson Welles’ most famous formal innovations of the 40s, while on the other, they recuperate the European avant-garde which enjoyed its heyday in the between-war period. Serrano de Osma’s telluric film period radically challenges the realist model that, at the end of the 40s, nearly all Spanish film critics came to advocate.