Publication: El Cid, del Cantar a la gran pantalla
Loading...
Official URL
Full text at PDC
Publication Date
2017-02-21
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Citations
Exportar
Abstract
A lo largo de la historia, la figura del héroe se ha ido gestando a partir de hechos o acontecimientos locales a través de la tradición oral –leyendas, romances, cuentos–, la literatura –poemas, obras de teatro, novelas– y el arte, hasta alcanzar una dimensión nacional e, incluso, supranacional. En el siglo XX, la aparición del cine ha dado a algunos una dimensión universal. Es el caso de Rodrigo Díaz de Vivar, el Cid, con la exitosa película de mismo título de 1961, producida por Samuel Bronston y rodada en España. Éste es el proceso que se estudia en el trabajo, a través de las fuentes históricas y literarias, el papel de Menéndez Pidal (en palabras de Fletcher, «A través de la pantalla, el Cid de Menéndez Pidal ha sido dado a conocer a millones de personas en todo el mundo»), la intervención del protagonista, Charlton Heston, la acogida del público y el papel que jugaron la crítica, la propaganda y la censura para seguir ahondando en la figura del héroe, creando la imagen de un Cid intachable, cuasi mesiánico, que sigue vigente en la actualidad.
Over the time, the role of the hero has been developing from facts or local happenings through oral tradition –legends, romances, stories– , literature –poems, role-plays, novels– and art, until reaching national or even international dimensions. In the 20th century, the invention of cinema has given to some of these heroes a universal dimension. So it happened with Rodrigo Díaz de Vivar, el Cid, and the namesake successful film of 1961, produced by Samuel Bronston and filmed in Spain. This is the process studied in this work through historic and literary sources, the role of Menéndez Pidal (In Fletcher’s own words, “Throughout the screen, the Cid of Menéndez Pidal has been brought into the open to millions of people all around the world”), the intervention of the principal, Charlton Heston, the reception of the audience, the importance of reviews, propaganda and censorship to keep digging in the hero figure, creating a spotless or even messianic Cid that prevails in the present time.
Over the time, the role of the hero has been developing from facts or local happenings through oral tradition –legends, romances, stories– , literature –poems, role-plays, novels– and art, until reaching national or even international dimensions. In the 20th century, the invention of cinema has given to some of these heroes a universal dimension. So it happened with Rodrigo Díaz de Vivar, el Cid, and the namesake successful film of 1961, produced by Samuel Bronston and filmed in Spain. This is the process studied in this work through historic and literary sources, the role of Menéndez Pidal (In Fletcher’s own words, “Throughout the screen, the Cid of Menéndez Pidal has been brought into the open to millions of people all around the world”), the intervention of the principal, Charlton Heston, the reception of the audience, the importance of reviews, propaganda and censorship to keep digging in the hero figure, creating a spotless or even messianic Cid that prevails in the present time.