La ley que aniquila al sujeto (de deseo) en El verdugo, de Luis García Berlanga (1963)
[EN] Jesús González Requena, in his work Clásico, manierista, postclásico. Los modos del relato en el cine de Hollywood (2006) introduces ¿based on the oedipal story¿ the concepts of Axis of Law and Axis of Lack to refer to the vectors that determine the becoming of the Subject in the Story. If the...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2024 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:dnet:riunet______::88da05e6b02a6bbcf0b099be864946e4 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/235951 |
| Access Level: | acceso abierto |
| Palabra clave: | Berlanga The Executioner Law Lack Responsibility El verdugo Ley Carencia Responsabilidad |
| Sumario: | [EN] Jesús González Requena, in his work Clásico, manierista, postclásico. Los modos del relato en el cine de Hollywood (2006) introduces ¿based on the oedipal story¿ the concepts of Axis of Law and Axis of Lack to refer to the vectors that determine the becoming of the Subject in the Story. If the Axis of Lack deploys the energy that mobilises the Subject towards the achievement of his Object of Desire, the Axis of Law introduces a series of norms and prohibitions that regulate this Desire through the fulfilment of a Task. We will study the particular and conflictive articulation of both axes in Luis García Berlanga's El verdugo (1963), a film in which the weak protagonist, José Luis, is harassed by the paternal figure embodied by his father-in-law, Amadeo, who not only overrides his desires, but also imposes on him the difficult task of acting, like him, as a professional executioner, killing another man in the name of the Law. All this under the long shadow of Carmen, Amadeo's daughter and José Luis' wife. |
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