{"title":"La realidad ficcionalizada de ¡Atraco! (2012): la apuesta transnacional de Eduard Cortés","authors":"Nieves Ruiz","doi":"10.14198/qdcine.2019.14.07","DOIUrl":null,"url":null,"abstract":"espanolEl objetivo de este trabajo sera analizar la pelicula iAtraco! (Eduard Cortes, 2012) como si se tratara de un texto filmico con el fin de obtener unas conclusiones propias desde la fuente original y asi alcanzar una idea aproximada de los motivos por los cuales la recepcion espanola del film no supo valorar una apuesta de tal calibre en el panorama transnacional. A pesar de contar con un gran reparto y con una direccion ejemplar, la pelicula no ha conseguido la repercusion mediatica que se esperaba. En Espana quedo fuera del Festival de San Sebastian y las criticas no fueron muy amables. Sin embargo, el fracaso espanol contrasta con el exito alcanzado en Argentina. La trama del film toma el punto de partida de unos hechos reales (un atraco en el Madrid de 1956) y construye toda una ficcion a partir de rumores y verdades no oficiales del estado espanol franquista que entra en contacto con el peronismo argentino, donde lo que verdaderamente esta en juego no son los datos historicos, sino las tensiones de las relaciones de poder y los limites de la lealtad y el patriotismo EnglishThe aim of this work will be to analyze the movie iAtraco! (Eduard Cortes, 2012) as if it were a filmic text in order to obtain own conclusions from the original source and thus reach an approximate idea of the reasons why the Spanish reception of the film did not know how to value a bet of such caliber in the transnational panorama. Despite having a great cast and an exemplary direction, the film has not achieved the media transcendentalism that was expected. In Spain it was left out of the San Sebastian Festival and the criticisms were not very kind. However, the Spanish failure contrasts with the success cultivated in Argentina. The plot of the film takes the starting point of some real events (a robbery in the Madrid of 1956) and builds a whole fiction from unofficial rumors and truths of the Francoist Spanish state that comes into contact with Argentine Peronism, where what is really at stake is not the historical data, but the tensions of power relations and the limits of loyalty and patriotism","PeriodicalId":407408,"journal":{"name":"Quaderns de Cine","volume":"10 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Quaderns de Cine","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14198/qdcine.2019.14.07","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
espanolEl objetivo de este trabajo sera analizar la pelicula iAtraco! (Eduard Cortes, 2012) como si se tratara de un texto filmico con el fin de obtener unas conclusiones propias desde la fuente original y asi alcanzar una idea aproximada de los motivos por los cuales la recepcion espanola del film no supo valorar una apuesta de tal calibre en el panorama transnacional. A pesar de contar con un gran reparto y con una direccion ejemplar, la pelicula no ha conseguido la repercusion mediatica que se esperaba. En Espana quedo fuera del Festival de San Sebastian y las criticas no fueron muy amables. Sin embargo, el fracaso espanol contrasta con el exito alcanzado en Argentina. La trama del film toma el punto de partida de unos hechos reales (un atraco en el Madrid de 1956) y construye toda una ficcion a partir de rumores y verdades no oficiales del estado espanol franquista que entra en contacto con el peronismo argentino, donde lo que verdaderamente esta en juego no son los datos historicos, sino las tensiones de las relaciones de poder y los limites de la lealtad y el patriotismo EnglishThe aim of this work will be to analyze the movie iAtraco! (Eduard Cortes, 2012) as if it were a filmic text in order to obtain own conclusions from the original source and thus reach an approximate idea of the reasons why the Spanish reception of the film did not know how to value a bet of such caliber in the transnational panorama. Despite having a great cast and an exemplary direction, the film has not achieved the media transcendentalism that was expected. In Spain it was left out of the San Sebastian Festival and the criticisms were not very kind. However, the Spanish failure contrasts with the success cultivated in Argentina. The plot of the film takes the starting point of some real events (a robbery in the Madrid of 1956) and builds a whole fiction from unofficial rumors and truths of the Francoist Spanish state that comes into contact with Argentine Peronism, where what is really at stake is not the historical data, but the tensions of power relations and the limits of loyalty and patriotism
这项工作的目的是分析电影《iAtraco!》(Eduard法院(2012),就像一个部电影以获得结论自己从最初的来源就是实现一个猜原因前台西班牙语的电影不知道珍惜这样的赌注跨国口径在背景。尽管演员阵容庞大,导演堪称典范,但这部电影并没有达到预期的媒体反响。在西班牙,我被排除在圣塞巴斯蒂安节之外,评论家们也不太友好。然而,西班牙的失败与阿根廷的成功形成了鲜明对比。电影情节在起点的一些事实(抢劫案在1956年马德里)和构建起一个完整的ficcion谣言和官方不是西班牙佛朗哥的道理进入与阿根廷会推出,无论他是在玩显然不是数据historicos,而是权力关系紧张和限制忠诚和爱国精神EnglishThe aim of this work will be to analyze the电影iAtraco !(Eduard法院(2012)亦如it是一个自己filmic text in order to obtain from the original source and的结论因此reach an approximate主意of the reasons why the [reception of the value电影没有not know how to a bet of诸如caliber in the跨国全景。尽管演员阵容出色,导演也很出色,但这部电影并没有达到人们所期待的媒体超越主义。在西班牙,它是圣塞巴斯蒂安节的一部分,批评不是很好。然而,西班牙的失败与阿根廷的成功形成了对比。The plot of The电影takes The starting point of some real events无力in马德里》(1956)和builds整个小说from unofficial rumors and获取of The Francoist[指出阿根廷Peronism吃into contact with what is真正at stake, where is not The历史数据,but The power and The关系界限的地方》《loyalty patriotism