Chapter

Ventriloquism, Kidnapping and the Carnivalesque in Marisol’s Tómbola1

Erin K. Hogan

in The Two cines con niño

Published by Edinburgh University Press

Published in print October 2018 | ISBN: 9781474436113
Published online May 2019 | e-ISBN: 9781474453622 | DOI: https://dx.doi.org/10.3366/edinburgh/9781474436113.003.0004
Ventriloquism, Kidnapping and the Carnivalesque in Marisol’s Tómbola1

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Chapter Three further elaborates ventriloquism as, firstly, an expression of Francoist anxiety of subaltern rebellion by children and colonial subjects and, secondly, as a tool for the transmission of traditional gender roles. Tómbola (Lucía 1962) is a retelling of Aesop’s ‘The Boy Who Cried Wolf’ with a sinister subtext that reveals the ideological function of the cine con niño and Francoism’s political use of children, both of which reverberate extra-diegetically in the biography of its star Marisol (Pepa Flores). This chapter explores the appropriative ventriloquism in the abduction of Marisol’s voice and body, a result of her short-lived carnivalesque resistance, followed by Pepa Flores’ star-text and its portrayal in a 2009 biopic mini-series. Marisol’s paternalism towards her Spanish-African best friend, likely from the territory of Equatorial Guinea, supports an allegorical analysis of the biopolitics of Spanish colonialism in Africa. The Two cines understands colonialism as another form of appropriation; Marisol’s sidekick María Belén is, effectively, the dummy’s dummy.

Keywords: Colonialism; Giorgio Agamben; Luis Lucia; Marisol (Pepa Flores); ‘The Boy Who Cried Wolf’; Tómbola; Ventriloquism

Chapter.  9891 words.  Illustrated.

Subjects: Film

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