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The Cinema of Alex de la Iglesia$
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Peter Buse, Nuria Triana-Toribio, and Andrew Willis

Print publication date: 2007

Print ISBN-13: 9780719071362

Published to Manchester Scholarship Online: July 2012

DOI: 10.7228/manchester/9780719071362.001.0001

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Crimen ferpecto (2004): the mise-en-scène of mise-en-scène

Crimen ferpecto (2004): the mise-en-scène of mise-en-scène

(p.161) 7 Crimen ferpecto (2004): the mise-en-scène of mise-en-scène
The Cinema of Alex de la Iglesia

Peter Buse

Núria Triana Toribio

Andy Willis

Manchester University Press

Crimen Ferpecto, Álex de la Iglesia's seventh feature film as director and second as a producer with Pánico, was released in October 2004. It returns to the black comedy of El día de la bestia, Muertos de risa and La comunidad, and, in many ways, is a compendium of the earlier films, with its sudden violence, explicit and exaggerated misogyny, and vicious and none-too-innocent children. In addition, the film recycles images and motifs from the earlier films. This is a cinema that pulls against the ‘ontology of the photographic image’ identified by André Bazin. According to Bazin, the cinema has a privileged relation to the real, and ‘enjoys a certain advantage in virtue of this transference of reality from the thing to its reproduction’.

Keywords:   Crimen Ferpecto, André Bazin, black comedy, ontology, photographic image, misogyny

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