Cuaderno
Publicado 31.07.2021
Palabras clave
- [REC],
- monstrous feminine,
- final girl,
- terror español,
- Jaume Balagueró
- Paco Plaza. ...Más
Resumen
La saga [REC] es una de las franquicias de mayor éxito en la historia del terror español. En este artículo argumentamos que sienta el precedente de un nuevo arquetipo femenino que va más allá de la clásica final girl. La representación de protagonistas femeninas decididas que se enfrentan solas a sus enemigos, de forma voluntaria y sin necesidad de ayuda masculina aporta una nueva visión de la feminidad que acompaña a otras producciones de la segunda mitad de la década de 2010. [REC] es, de esta manera, una franquicia que rompe con los estereotipos tradicionales del terror al tiempo que honra su influencia y legado.
Citas
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Briandana, R., Hajariah, S. (2013). Gender and the Action Film: Questions of Female Heroism (Analysis of Female Masculinity of the Female Heroic Character), <em>Jurnal Visi Komunikasi</em>, <em>12</em>, 183–198.<br>
Chatterjee, A. (2018). Forgive me father, for I have sinned: The violent fetishism of female monsters in Hollywood horror culture, <em>Rupkatha Journal on Interdisciplinary Studies in Humanities</em>, <em>10(2)</em>, 129–135. https://doi.org/10.21659/rupkatha.v10n2.13.<br>
Clover, C. J. (2015). <em>Men, women and chain saws. Gender in the modern horror film.</em> (e.o. 1993). Princeton: Princeton University Press.<br>
Creed, B. (1993). <em>The Monstrous-Feminine. Film, feminism, psychoanalysis</em>. London-New York: Routledge.<br>
Davies, A. (2019). Women and Haunted Houses in the Films of Jaume Balagueró: The Nightmares of Presence, <em>Bulletin of Hispanic Studies</em>, <em>96(6)</em>, 641–653. https://doi.org/10.3828/bhs.2019.38.<br>
De Fez, Desirée (2020). <em>Reina del grito. Un viaje por los miedos femeninos.</em> Barcelona: Blackie Books.<br>
Garland, T. S., Phillips, N., Vollum, S. (2018). Gender Politics and The Walking Dead: Gendered Violence and the Reestablishment of Patriarchy, <em>Feminist Criminology</em>, <em>13(1)</em>, 59–86. https://doi.org/10.1177/1557085116635269.<br>
Hardcastle, A. (2017). Why They Film: The Camera and Viewer Address in Found Footage Horror Films from Spain, En J. Marí (ed.), <em>Tracing the borders of Spanish Horror Cinema and Television</em> (Edición Ebook), Routledge. <br>
Hart, A. C. (2014). Millennial Fears. Abject Horror in a Transnational Context. En Harry M. Benshoff, <em>A Companion to the Horror Film</em> (pp. 329-344). Hoboken, NJ, USA: John Wiley & Sons, Inc, https://doi.org/10.1002/9781118883648.ch19.<br>
Hawkins, J. (2000). <em>Cutting Edge: Art-Horror and the Horrific Avant-garde</em>. Minneapolis: Minnesota Press.<br>
Huerta Floriano, M. Á. (2019). <em>Los géneros cinematográficos. Una introducción</em>. Valencia: Tirant Humanidades.<br>
Keisner, J. (2008). Do you Want to Watch? A Study of the Visual Rhetoric of the Postmodern Horror Film, <em>Women’s Studies</em>, <em>37(4)</em>, 411–427. https://doi.org/10.1080/00497870802050019.<br>
Lázaro-Reboll, A. (2017). Generating fear: from Fantastic Factory (2000-2005) to [REC] (2007-2014). En J. Marí (ed.), <em>Tracing the borders of Spanish Horror Cinema and Television</em>. (Edición Ebook), Routledge.<br>
Losilla, C. (1999). <em>El cine de terror: una introducción</em> (e. o. 1993). Barcelona: Paidós.<br>
McKeown, W. (2019). What happened to her eyes?: Self-sacrifice in [REC]’, <em>Horror Studies</em>, <em>10(2)</em>, 209–226. https://doi.org/10.1386/host_00005_1.<br>
Monnet, A. S. (2015). Body genres, night vision and the female monster. En Fred Botting y Catherine Spooner <em>Monstrous media/spectral subjects</em> (pp. 143-156). Manchester University Press. https://doi.org/10.7228/manchester/9780719089770.003.0011.<br>
Olney, I. (2014). Spanish Horror Cinema. En H. M. Benshoff (ed.), <em>A Companion to the Horror Film</em>. (ebook). Wiley Blackwell. <br>
Rieser, K. (2001). Masculinity and Monstrosity, <em>Men and Masculinities</em>, <em>3(4)</em>, 370–392. https://doi.org/10.1177/<br>
1097184X01003004002.<br>
Rowan-Legg, S. M. (2013). Don’t Miss a Bloody Thing: [REC] and the Spanish Adaptation of Found Footage Horror, <em>Studies in Spanish & Latin American Cinemas</em>, <em>10(2)</em>, 213–223. https://doi.org/10.1386/slac.10.2.213_1.<br>
Sánchez Trigos, R. (2013). Tradición y transnacionalidad en el tratamiento de lo fantástico en la saga REC de Jaume Balagueró y Paco Plaza, <em>Brumal</em>, I, 285–307.<br>
Sharrett, C. (2014). The Horror Film as Social Allegory (And How it Comes Undone). En H. M. Benshoff, (ed.), <em>A Companion to the Horror Film</em> (pp. 56–72). Hoboken, NJ, USA: John Wiley & Sons, Inc, https://doi.org/10.1002/9781118883648.ch4.</p>
Briandana, R., Hajariah, S. (2013). Gender and the Action Film: Questions of Female Heroism (Analysis of Female Masculinity of the Female Heroic Character), <em>Jurnal Visi Komunikasi</em>, <em>12</em>, 183–198.<br>
Chatterjee, A. (2018). Forgive me father, for I have sinned: The violent fetishism of female monsters in Hollywood horror culture, <em>Rupkatha Journal on Interdisciplinary Studies in Humanities</em>, <em>10(2)</em>, 129–135. https://doi.org/10.21659/rupkatha.v10n2.13.<br>
Clover, C. J. (2015). <em>Men, women and chain saws. Gender in the modern horror film.</em> (e.o. 1993). Princeton: Princeton University Press.<br>
Creed, B. (1993). <em>The Monstrous-Feminine. Film, feminism, psychoanalysis</em>. London-New York: Routledge.<br>
Davies, A. (2019). Women and Haunted Houses in the Films of Jaume Balagueró: The Nightmares of Presence, <em>Bulletin of Hispanic Studies</em>, <em>96(6)</em>, 641–653. https://doi.org/10.3828/bhs.2019.38.<br>
De Fez, Desirée (2020). <em>Reina del grito. Un viaje por los miedos femeninos.</em> Barcelona: Blackie Books.<br>
Garland, T. S., Phillips, N., Vollum, S. (2018). Gender Politics and The Walking Dead: Gendered Violence and the Reestablishment of Patriarchy, <em>Feminist Criminology</em>, <em>13(1)</em>, 59–86. https://doi.org/10.1177/1557085116635269.<br>
Hardcastle, A. (2017). Why They Film: The Camera and Viewer Address in Found Footage Horror Films from Spain, En J. Marí (ed.), <em>Tracing the borders of Spanish Horror Cinema and Television</em> (Edición Ebook), Routledge. <br>
Hart, A. C. (2014). Millennial Fears. Abject Horror in a Transnational Context. En Harry M. Benshoff, <em>A Companion to the Horror Film</em> (pp. 329-344). Hoboken, NJ, USA: John Wiley & Sons, Inc, https://doi.org/10.1002/9781118883648.ch19.<br>
Hawkins, J. (2000). <em>Cutting Edge: Art-Horror and the Horrific Avant-garde</em>. Minneapolis: Minnesota Press.<br>
Huerta Floriano, M. Á. (2019). <em>Los géneros cinematográficos. Una introducción</em>. Valencia: Tirant Humanidades.<br>
Keisner, J. (2008). Do you Want to Watch? A Study of the Visual Rhetoric of the Postmodern Horror Film, <em>Women’s Studies</em>, <em>37(4)</em>, 411–427. https://doi.org/10.1080/00497870802050019.<br>
Lázaro-Reboll, A. (2017). Generating fear: from Fantastic Factory (2000-2005) to [REC] (2007-2014). En J. Marí (ed.), <em>Tracing the borders of Spanish Horror Cinema and Television</em>. (Edición Ebook), Routledge.<br>
Losilla, C. (1999). <em>El cine de terror: una introducción</em> (e. o. 1993). Barcelona: Paidós.<br>
McKeown, W. (2019). What happened to her eyes?: Self-sacrifice in [REC]’, <em>Horror Studies</em>, <em>10(2)</em>, 209–226. https://doi.org/10.1386/host_00005_1.<br>
Monnet, A. S. (2015). Body genres, night vision and the female monster. En Fred Botting y Catherine Spooner <em>Monstrous media/spectral subjects</em> (pp. 143-156). Manchester University Press. https://doi.org/10.7228/manchester/9780719089770.003.0011.<br>
Olney, I. (2014). Spanish Horror Cinema. En H. M. Benshoff (ed.), <em>A Companion to the Horror Film</em>. (ebook). Wiley Blackwell. <br>
Rieser, K. (2001). Masculinity and Monstrosity, <em>Men and Masculinities</em>, <em>3(4)</em>, 370–392. https://doi.org/10.1177/<br>
1097184X01003004002.<br>
Rowan-Legg, S. M. (2013). Don’t Miss a Bloody Thing: [REC] and the Spanish Adaptation of Found Footage Horror, <em>Studies in Spanish & Latin American Cinemas</em>, <em>10(2)</em>, 213–223. https://doi.org/10.1386/slac.10.2.213_1.<br>
Sánchez Trigos, R. (2013). Tradición y transnacionalidad en el tratamiento de lo fantástico en la saga REC de Jaume Balagueró y Paco Plaza, <em>Brumal</em>, I, 285–307.<br>
Sharrett, C. (2014). The Horror Film as Social Allegory (And How it Comes Undone). En H. M. Benshoff, (ed.), <em>A Companion to the Horror Film</em> (pp. 56–72). Hoboken, NJ, USA: John Wiley & Sons, Inc, https://doi.org/10.1002/9781118883648.ch4.</p>