Abstracts
Resumen
Tras la resaca de más de 40 años de dictadura franquista, Iván Zulueta “irrumpe” en el panorama cinematográfico español con una obra tan inclasificable como vanguardista: Arrebato (1979). Se trataba de un filme tremendamente rupturista, tanto en el abordaje de las temáticas tratadas (drogas, sexo, y esmerada renovación de la tradición vampírica) como en su valiente concesión a la experimentación sonora y visual tomada del cine underground neoyorkino y barcelonés de los años 60 y 70. Pero, Arrebato, fue, ante todo, un filme autobiográfico, autorreferencial y visionario. Zulueta y Arrebato convergen y se entreveran en un mismo e inequívoco relato de fantaterror. El presente artículo despeja las claves interpretativas de esta relación siamesa entre el autor y su única obra testamentaria, aportando nuevas apreciaciones sobre una de las películas más singulares del catálogo fílmico español.
Palabras clave:
- Arrebato,
- Iván Zulueta,
- vampirismo,
- homosexualidad,
- heroína
Abstract
After the hangover of over forty years of Franco’s dictatorship, Iván Zulueta breaks into Spanish cinematographic scene with a film as avantgarde as it is unclassifiable: Rapture (1979). It is a breakthrough film not only in the subjects it deals with (drugs, sex, and a renewed vampiric tradition), but also in the brave concession to sound and visual experimentation taken from New York and Barcelona’s underground cinema of the 60s and 70s. But Rapture was, above all, an autobiographical, self-referential, and visionary film. Zulueta and Rapture converge and intermingle in the same unequivocal fantasy tale. This paper clarifies the interpretive keys of this Siamese relationship between the author and his only testamentary work, bringing new insights into one of the most unique films in Spain’s film catalog.
Keywords:
- Rapture,
- Iván Zulueta,
- vampirism,
- homosexuality,
- heroin
Appendices
Bibliografía
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