Customer Service | Help | FAQ | PEP-Easy | Report a Data Error | About
Tip: To sort articles by Rank…

PEP-Web Tip of the Day

You can specify Rank as the sort order when searching (it’s the default) which will put the articles which best matched your search on the top, and the complete results in descending relevance to your search. This feature is useful for finding the most important articles on a specific topic.

You can also change the sort order of results by selecting rank at the top of the search results pane after you perform a search. Note that rank order after a search only ranks up to 1000 maximum results that were returned; specifying rank in the search dialog ranks all possibilities before choosing the final 1000 (or less) to return.

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Enckell, H. (2013). Carlos Saura’s Blood wedding. Scand. Psychoanal. Rev., 36(2):121-125.

(2013). Scandinavian Psychoanalytic Review, 36(2):121-125

Reports and Brief Communications

Carlos Saura’s Blood wedding

Henrik Enckell


Carlos Saura, born 1932, is one of Spain’s most renowned film directors. His breakthrough was Cria cuervos (Raise Ravens), a psychological family drama from 1976. Saura’s final international reputation came, however, with the so-called Flamenco trilogy, comprising Bodas de sangre (Blood wedding, 1981), Carmen (1983) and El amor brujo (Love, the magician, 1986). Subsequently, Saura has made many films which document dance or use dance as a formal element, notably Sevillanas (1992), Flamenco (1995), Tango (1998), Iberia (2005), and Flamenco, flamenco (2010). Blood wedding, however, is his very first dance film.

As to its format, Blood Wedding is a modest film. It is only 70 minutes long, it has a simple structure and the camera work is plain. This does not mean the film wouldn’t be rich or interesting. In this short essay, I will present some ideas on the place of Blood wedding in Spain’s cultural history, the structure of the film, its main themes, and some ideas as to how all this may be connected with psychoanalysis.

Saura’s film is the result of many adaptations. At the base there is a true story of family feud and bride robbery. Inspired by this material, Federico Garcia Lorca (who learned about the happenings from the newspapers) wrote a play (Bodas de sangre) in 1933. This play was adapted into a ballet, which Antonio Gades, a well-known dancer and choreographer, worked into a flamenco performance. Saura (who had been a photographer of ballet dancers in his young adulthood) saw a rehearsal of Gades’ performance, and used it for his film.

[This is a summary excerpt from the full text of the journal article. The full text of the document is available to journal subscribers on the publisher's website here.]

Copyright © 2020, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.