Abstract
The two films starring the musical group Hombres G in the eighties were very little recognized by critics at the time. These fictions were caught between the works associated with the movida and a cinema made under the auspices of the subsidy system of the time, which has occupied much space in the imaginary of critics and academics. But the films of the Hombres G ¡Sufre, mamón! (Manuel Summers, 1987) y Suéltate el pelo (Manuel Summers, 1988) were an undisputed public success. The purpose of the article is to analyze how these two tapes built, through thick humour and the use of parody, satire, intertextuality and even self-mutilation, a deformed portrait of the time, which in no way can be branded as depoliticized. We will study how these two films exceeded their role as commercial vehicles at the service of a musical group to end up offering irreverent entertainment that mocked both their elders and the institutions controlled by them, as well as their contemporaries, young people completely invested in a consumer culture that greatly marked that time.
| Translated title of the contribution | Postransition, humour and self-fiction in Hombres G’s musical cinema: a look at film (de)politicization |
|---|---|
| Original language | Spanish |
| Pages (from-to) | 159-185 |
| Number of pages | 27 |
| Journal | Fotocinema |
| Issue number | 26 |
| DOIs | |
| Publication status | Published - 2023 |