Abstract

This article seeks to explore the presentation of play in two child-centred Spanish films. Carlos Saura’s Cría cuervos (1976) and Carla Simón’s Estiu 1993 (2017) demonstrate that playful interactions offer cinematic child protagonists a plethora of ways to speak in the narratives. A reconsideration of the child orphan character in Spanish cinema will allow us to move away from limited understandings of the filmic child of much Civil-War themed cinema as a mute witness or cipher of victimhood. This essay will use a tripartite approach, with the transition to democracy as a lens, examining the beginning of the transition in the 1970s as seen in Cría. The consequences of the transition that are apparent in 1990s cinematic childhoods in Estiu will then also be explored. Through a comparative analysis, I demonstrate that the protagonists frequently turn to play to make sense of the dramatic social and political changes that envelop their world. Both Saura and Simón remind audiences that children were indeed present for, and affected by, the historical events of the Franco regime (in Cría cuervos) and the AIDS crisis of 1980s and 1990s Spain (in Estiu 1993).

中文翻译：

---

在Críacuervos（1976）和Estiu 1993（2017）中扮演的孤儿：重新考虑游戏空间

摘要

本文旨在探讨两部以儿童为中心的西班牙电影中的戏剧表现形式。卡洛斯·索拉（Carlos Saura）的Críacuervos（1976）和卡拉·西蒙（CarlaSimón）的Estiu 1993（2017）表明，有趣的互动为电影儿童主角提供了多种叙事方式。对西班牙电影中的儿童孤儿角色的重新考虑将使我们摆脱对许多内战主题电影的电影孩子的有限理解，将其作为受害者的沉默见证或密码。本文将采用三方方法，以向民主过渡为视角，考察Cría中1970年代过渡的开始。这种转变的后果在1990年代Estiu的电影童年时期很明显然后还将进行探索。通过比较分析，我证明了主角们经常玩游戏以了解包围他们世界的急剧的社会和政治变化。索拉（Saura）和西蒙（Simón）都提醒听众，确实有儿童出现在佛朗哥政权的历史事件中（在Críacuervos中）以及1980年代和1990年代西班牙的艾滋病危机（在Estiu 1993中）。