Cuadecuc, vampir
An analysis of the construction mechanism for the magic in dominant narrative cinema though the filming of Count Dracula (1970), a commercial film by Jesús Franco. Vampir-Cuadecuc is possibly a key fi…
Cuadecuc, vampir
An analysis of the construction mechanism for the magic in dominant narrative cinema though the filming of Count Dracula (1970), a commercial film by Jesús Franco. Vampir-Cuadecuc is possibly a key film in understanding the transition in the Spanish film world from the period of the "new cinemas" (permitted by the Franco government) towards the illegal, clandestine or openly antagonistic practices against the Franco regime. It consists of shooting the filming of a commercial film Count Dracula by Jesús Franco. Portabella practices two types of violence on the standard narrative: he totally eliminates color and substitutes the soundtrack with a landscape of image-sound collisions by Carles Santos. Filmed provocatively in 16mm and with sound negative, the tensions between black and white favor the strange "fantasmatic materialism" of this revealing analysis of the construction mechanism for the magic in dominant narrative cinema, which at the same time constitutes a radical intervention in the Spanish cinematographic institution. —Pere Portabella - Films 59
Cuadecuc, vampir
Documentary,Horror
Film Details
An analysis of the construction mechanism for the magic in dominant narrative cinema though the filming of Count Dracula (1970), a commercial film by Jesús Franco. Vampir-Cuadecuc is possibly a key film in understanding the transition in the Spanish film world from the period of the "new cinemas" (permitted by the Franco government) towards the illegal, clandestine or openly antagonistic practices against the Franco regime. It consists of shooting the filming of a commercial film Count Dracula by Jesús Franco.
Portabella practices two types of violence on the standard narrative: he totally eliminates color and substitutes the soundtrack with a landscape of image-sound collisions by Carles Santos. Filmed provocatively in 16mm and with sound negative, the tensions between black and white favor the strange "fantasmatic materialism" of this revealing analysis of the construction mechanism for the magic in dominant narrative cinema, which at the same time constitutes a radical intervention in the Spanish cinematographic institution. —Pere Portabella - Films 59.