By Juan F. Egea,Juan Egea
Egea starts off his research with normal Franco's dictatorship within the 1960s—a regime that opened the rustic to new fiscal forces whereas preserving its repressive nature—exploring key works by means of Luis García Berlanga, Marco Ferreri, Fernando Fernán-Gómez, and Luis Buñuel. darkish Laughter then strikes to the 1st motion pictures of Pedro Almodóvar within the early Nineteen Eighties throughout the Spanish political transition to democracy earlier than analyzing Alex de los angeles Iglesia and the recent darkish comedies of the Nineties. studying this more youthful iteration of filmmakers, Egea lines darkish comedy to Spain's monitors of ultramodernity corresponding to the common Exposition in Seville and the Barcelona Olympic Games.
At its middle, darkish Laughter is a considerable inquiry into the epistemology of comedy, the intricacies of visible modernity, and the connection among cinema and a much wider framework of representational practices.
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