scholarly journals Con faldas y a lo Wilder. Impacto y superación del Código Hays en 'Some Like It Hot' (1959), de Billy Wilder

Área Abierta ◽  
2020 ◽  
Vol 20 (1) ◽  
pp. 39-57
Author(s):  
Álvaro Martín Sanz
Keyword(s):  

El objetivo del presente artículo es explorar cómo las normas dictadas por el conocido como Código Hays delimitan y guían los mecanismos narrativos y el modo de representación de Some Like It Hot (1959). Así mismo, se plantea un estudio de la utilización de la comedia y de sus recursos propios como método empleado por Billy Wilder en dicho filme para, siendo fiel tanto al espíritu inicial de la obra como a la narrativa de la misma, imponer su voz autoral de cara a superar las prohibiciones impuestas por la censura. Y es que el guion de la obra se adapta constantemente para sortear el famoso código en lo respecto a tres temas con importante presencia en la película: el travestismo de los personajes masculinos, la sensualidad del personaje interpretado por Marilyn Monroe y el erotismo latente de algunas escenas, y la violencia presente de otras secuencias.

1974 ◽  
Vol 27 (3) ◽  
pp. 55-56
Author(s):  
Ernest Callenbach
Keyword(s):  

1970 ◽  
Vol 23 (4) ◽  
pp. 2-9
Author(s):  
Joseph McBride ◽  
Michael Wilmington
Keyword(s):  

1962 ◽  
Vol 15 (3) ◽  
pp. 62-65
Author(s):  
Pauline Kael
Keyword(s):  

Altamira CUT ◽  
2015 ◽  
Vol 2 (8) ◽  
pp. 58-67
Author(s):  
NATALIA RIVERA LUGO
Keyword(s):  

1980 ◽  
Vol 46 (1) ◽  
pp. 85-99
Author(s):  
Noëlle de Chambrun
Keyword(s):  

Author(s):  
Timea Andrea Lelik

Marlene Dumas’ unrecognizable depictions of iconic figures such as Mary Magdalene or Marilyn Monroe make up some of her active commentary on the role and functioning of cultural icons in contemporary culture. Analyzing the meaning of “iconic portraits,” the author will evidence the manner in which Dumas unmasks the fact that cultural images represent collectively created stereotypical identities. By referencing the concept of “liminality” I argue that Dumas depicts these iconic subjects is in a state of transition and “in-betweenness” that functions as process of rewriting the subjectivity of the depicted characters.


2014 ◽  
Vol 33 (1) ◽  
pp. 209-225 ◽  
Author(s):  
Kristi Good
Keyword(s):  

1992 ◽  
Vol 17 (3) ◽  
pp. 203-216
Author(s):  
Louise Vigeant

Jean-Pierre Ronfard's Vie et mort du Roi Boiteux, an impressive six-play cycle telling the story of King Richard ‘Premier’ (i.e. ‘The First’, but Premier is meant here as a family name, as would be Jones or Smith), was created in 1981 and has been seen ever since as a landmark in the recent evolution of Québécois drama. It starts out as games played by children in a back lane and focuses on a limping boy who will be king. The limping king whose story is told as a ‘play-within-a-play’ refers to Oedipus's club foot as well as to Shakespeare's deformed Richard III. The story is heavily parodic, set simultaneously in all parts of the world and at all times, so that Marilyn Monroe and Queen Nefertiti can meet, as well as Brecht and Aristotle. Each play has been staged separately, but the full cycle was occasionally done in succession, a spectacular event lasting fifteen hours. The subject of this article is the very first full-length production, done partly outdoors, on 24 June 1982, in Montreal.


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