Resumen de Memorias de la conquista en Oro (2017): de homo homini lupus a la solidaridad transcultural
- español
La película Oro (2017), dirigida por Agustín Díaz Yanes y basada en un relato del escritor Arturo Pérez-Reverte, no fue ningún éxito comercial ni tampoco fue celebrada por la crítica. Sin embargo, destaca entre las narrativas españolas populares –que a menudo tienen un enfoque documental-realista neocolonial en sus representaciones de la Conquista de América– por un acercamiento metaficcional y transcultural característico de la Nueva Narrativa Histórica. En este contexto, proponemos analizar cómo y hasta qué punto Oro se distancia de imágenes narrativas preestablecidas, a qué imágenes narrativas se acerca y hasta qué punto propone alternativas innovadoras. Para responder a estas cuestiones se recurre a un análisis cultural-psicológico cualitativo, en especial a teorías transculturales, evolucionistas y positivas, un concepto narrativo amplio y una comparación con la película Alatriste (2006).
The film Oro (2017), directed by Agustín Díaz Yanes and based on a story by the writer Arturo Pérez-Reverte, was not a commercial success nor was it celebrated by critics. However, it stands out among popular Spanish narratives – which often demonstrate neocolonial documentary-realist perspectives in their depictions of the Conquest of America – for a transcultural and meta-fictional approach characteristic of the New Historical Narrative. In this context, we propose to analyse in how far and how exactly Oro distances itself from pre-established narrative images, to which narrative images it connects, and to what extent it proposes innovative alternatives. To answer these questions, we draw on a qualitative cultural-psychological analysis, especially transcultural, evolutionary and positive theories, a broad narrative concept and a comparison with the film Alatriste (2006).
- Deutsch
The film Oro (2017), directed by Agustín Díaz Yanes and based on a story by the writer Arturo Pérez-Reverte, was not a commercial success nor was it celebrated by critics. However, it stands out among popular Spanish narratives – which often demonstrate neocolonial documentary-realist perspectives in their depictions of the Conquest of America – for a transcultural and meta-fictional approach characteristic of the New Historical Narrative. In this context, we propose to analyse in how far and how exactly Oro distances itself from pre-established narrative images, to which narrative images it connects, and to what extent it proposes innovative alternatives. To answer these questions, we draw on a qualitative cultural-psychological analysis, especially transcultural, evolutionary and positive theories, a broad narrative concept and a comparison with the film Alatriste (2006).
