Figurations of the monster: notes on El crimen de Cuenca (1979), El laberinto del Fauno (2006) and Balada triste de trompeta (2011)

Abstract

This article aims to investigate the figure of the monster in three cinematographic works: El crimen de Cuenca (1979), directed by Pilar Miró; El laberinto del Fauno (2006) by Guillermo del Toro and Balada triste de trompeta by Álex de la Iglesia. The works of Del Toro and de la Iglesia show two different approaches to the Spanish Civil War and Francoism, as a residual phenomenon "has been ( ) formed in the past but is still active in the cultural process ( ) as an effective element of the present" (Williams, 2009, p. 161). Each of the films that make up the sample outlines side views of concrete situations of enunciation.