Abstract
In this paper, I am recovering the figure of Val del Omar, an avant-garde Spanish filmmaker, who transcended all kinds of cultural expectations in the Francoist Spain of the 50’s by fusing technology and mysticism (what he called, Mecha-mystics). I specifically focus on his most representative work: Tríptico de España (Spanish Triptych), composed of three pieces, ‘Aguaespejo granadino’ (1955), ‘Fuego en Castilla’ (1960) and ‘Acariño galaico’ (1961). Finally, I pose the question of whether or not avant-garde art and the experimental gaze are more prone to evade censorship.
Presenters
Marta del Pozo OrteaAssociate Professor, Global Languages and Cultures, University of Massachusetts- Dartmouth, Rhode Island, United States
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Val del Omar, Spanish Triptych, Cinema, Avant-Garde, Mecha-Mystics
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