Carmen is an excellent example of a particular kind of European film — intensely local, and displaying a preoccupation with ideas of national identity, yet appealing to a wider European and international audience. It is a dance film, a showcase for ballet español, a fusion of contemporary dance and flamenco. The main events in the film are the search for a principal dancer, followed by the rehearsals for a flamenco ballet based on the opera Carmen, by the French composer Bizet, itself based on the novel by Prosper Mérimée.
KeywordsNational Identity International Audience Socialist Government Instrumental Music Poker Game
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References and Suggestions for Further Reading
- D’Lugo, Marvin 1991: The Films of Carlos Saura. Princeton, NJ: Princeton University Press.Google Scholar
- Edwards, Gwynne 1995: Indecent Exposures: Buñuel, Saura, Erice & Almodôvar. Marion Boyars: London & New York.Google Scholar
- Fiddian, Robin W. and Evans, Peter W. 1988: Challenges to Authority: Fiction and Film in Contemporary Spain. London: Tamesis Books.Google Scholar
- Hooper, John 1995: The New Spaniards. London: Pengu in Books.Google Scholar
- Jordan, Barry and Morgan-Tamosunas, Rikki 1998: Contemporary Spanish Cinema. Manchester: Manchester University Press.Google Scholar
- Kinder, Marsha (ed.) 1997: Refiguring Spain: Cinema, Media, Representation. Durham, NC, and London: Duke University Press.Google Scholar
- Mitchell, Timothy 1994: Flamenco Deep Song in Text. New Haven, CT: Yale University Press.Google Scholar
- Washabaugh, William 1996: Flamenco: Passion, Politics and Popular Culture. Oxford and Washington, DC: Berg.Google Scholar
- Woodall, James 1992: In Search of the Firedance: Spain through Flamenco. London: Sinclair-Stevenson.Google Scholar