El salto generacional y el discurso social en El Graduado
Abstract The Graduate is one of the most representative films of late sixties and early seventies cinema movement New Hollywood in the United States for several reasons: the large audience and media impact during its showing, the disagreements in the specialized criticism and the iconic status it has since then. Based on the theory of films as representations of their contemporary historical and social events, in this paper we analyze the value of Mike Nichols film as evidence of the cultural change and generation gap of the period. We analyze its revolutionary character -paying attention both to its relation with counterculture and to its controversial ending- from the ideological and character description points of view
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Adamczyk, John (2005): “Rebellion in the 1960s and "The Graduate".Disponible en: http://www.unc.edu/~adamczyk/johnadamczyk.html [Fecha de consulta: 1 de noviembre de 2011].
Alpert, Hollis (1968): "The Graduate Makes Out". En The Saturday Review, nºde julio.
Bapis, Elaine M. (2008): Camera and action: American film as agent of social change, 1965-1975. Carolina del Norte: Mcfarland Publishers.
Beuka, Robert (2004): “The Perils of Suburban Masculinity”. En Beuka, Robert: SuburbiaNation: Reading Suburban Landscape in Twentieth-Century American. Nueva York: Palgrave MacMillan.
Brackman, Jacob (1968): "Onward and Upward with the Arts: 'The Graduate'".En The New Yorker, Julio de 1968, nº 27.
Brinkley, David (1968): “What's wrong with "The Graduate". En Ladies Home Journal, Vol. LXXV, 4.
Burke, Peter (2005): Visto y no visto. El uso de la imagen como documento histórico. Barcelona: Crítica.
Cavallo, Dominick (1999): A fiction of the past: the sixties in American history.Nueva York: Palgrave.
Chinarro, Mª del Mar y Rueda, José Carlos (coords.) (2002): Creando cine,creando historia: la representación cinematográfica de ideas y movimientos sociales. Madrid: Servicio de Publicaciones de la Facultad de Ciencias de laInformación, Universidad Complutense.
Coles, Robert (1968): "Bonnie And Clyde And The Graduate: Hollywood's New Social Criticism”. En Society, Vol. 5, nº 6.
Comas, Ángel (2009): Los fabulosos años del New Hollywood. Panorama de dos décadas de cine norteamericano (1964-1983). Madrid: T&B Editores.
Dezcallar, Rafael (1984): “Contracultura y tradición cultural”. En Nueva Época, enero-febrero de 1984, nº. 37. Disponible en http://dialnet.unirioja.es/servlet/articulo?codigo=26765 [Fecha de consulta: 10 de noviembre de 2011].
Dougherty, Robin (1997): “Here’s to You, Mrs. Robinson”. En Salon, nº 13. Disponible en http://www.salon.com/feb97/graduate970221.html?CP=SAL&DN=110 [Fecha de consulta: 25 de diciembre de 2011].
Elsaesser, Thomas (1975): “The Pathos of Failure: American Films in the 70’s”. En Monogram, nº 6.
Elsaesser, Thomas (2004): “The Last -or first- Picture Show?”. En Horwath, Alexander, Elsaesser, Thomas y King, Noel (eds.): The last great American picture show: new Hollywood cinema in the 1970. Amsterdam: Amsterdam University Press.
Farber, Stephen y Changas, Estelle (1968): “The Graduate”. En Film Quarterly, Vol. 21, nº 3.
Faulstich, Korte (1997): Cien años de Cine: 1961-1976. Entre Tradición y Nueva Orientación. Madrid: Siglo XXI de Editores.
Ferro, Marc (1988): Cinema and history. Michigan: Wayne State University Press.
Indick, William (2004): Movies and the mind: theories of the great psychoanalysts applied to film. Carolina del Norte: Mcfarland Company.
King, Geoff (2002): New Hollywood cinema: an introduction. Londres: IB Tauris & Co.
Kracauer, Siegfried (1947): From Caligari to Hitler: A Psychological History of the German Film. Nueva Jersey: Princeton University Press.
Krämer, Peter (2005): The new Hollywood: from Bonnie and Clyde to StarWars. Londres: Wallflower Press.
Kolker, Robert (2000): A cinema of loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman. Oxford: Oxford University Press.
Metz, Walter (2004). Engaging film criticism: film history and contemporary American cinema. Nueva York: Peter Publishing. Díaz Martín, Marcos
Quart, Leonard y Auster, Albert (2002): American film and society since 1945. Westport: Greenwood Publishing Group.
Reck, Tom S. (2003): 'The graduate' reclassified”. En Commonweal. Disponibleen: http://web.blomand.net/~dennmac/review4.html [Fecha de consulta: 15 de diciembre de 2011].
Rosenstone, Robert (2006): History on film/film and history. Londres: Pearson Education.
Ryan, Michael y Kellner, Douglas (1988): Camera politica: the politics and ideology of contemporary Hollywood film. Bloomington: Indiana University Press.
Sand, Shlomo (2004): El siglo XX en pantalla. Cien años a través del cine. Barcelona: Ediciones Crítica.
Simon, John (1971): “The Graduate”. En Simon, John: Movies into film. Film criticism 1967-1970. Nueva York: Dial Press.
Simon, John (1971): Private Screenings. Berkley: Berkley Pub. Corp.
Sorlin, Pierre (1985): Sociología del cine. La apertura para la historia del mañana. Méjico DF: Fondo de Cultura Económica.
Wattenberg, Ben I. (ed.) (1976): The Statistical History of the United States. From Colonial Times to the Present. Nueva York: Basic Book.
Webb, Charles (2002): The Graduate. Nueva York: Washington Square Press.
Whitehead, J. W. (2001): Appraising the Graduate: The Mike Nichols Classic and Its Impact in Hollywood. Carolina del Norte: Mcfarland & Company.
Wright, Bradford (2001): Comic book nation: the transformation of youth culture in America. Maryland: The Johns Hopkins University Press.
Alpert, Hollis (1968): "The Graduate Makes Out". En The Saturday Review, nºde julio.
Bapis, Elaine M. (2008): Camera and action: American film as agent of social change, 1965-1975. Carolina del Norte: Mcfarland Publishers.
Beuka, Robert (2004): “The Perils of Suburban Masculinity”. En Beuka, Robert: SuburbiaNation: Reading Suburban Landscape in Twentieth-Century American. Nueva York: Palgrave MacMillan.
Brackman, Jacob (1968): "Onward and Upward with the Arts: 'The Graduate'".En The New Yorker, Julio de 1968, nº 27.
Brinkley, David (1968): “What's wrong with "The Graduate". En Ladies Home Journal, Vol. LXXV, 4.
Burke, Peter (2005): Visto y no visto. El uso de la imagen como documento histórico. Barcelona: Crítica.
Cavallo, Dominick (1999): A fiction of the past: the sixties in American history.Nueva York: Palgrave.
Chinarro, Mª del Mar y Rueda, José Carlos (coords.) (2002): Creando cine,creando historia: la representación cinematográfica de ideas y movimientos sociales. Madrid: Servicio de Publicaciones de la Facultad de Ciencias de laInformación, Universidad Complutense.
Coles, Robert (1968): "Bonnie And Clyde And The Graduate: Hollywood's New Social Criticism”. En Society, Vol. 5, nº 6.
Comas, Ángel (2009): Los fabulosos años del New Hollywood. Panorama de dos décadas de cine norteamericano (1964-1983). Madrid: T&B Editores.
Dezcallar, Rafael (1984): “Contracultura y tradición cultural”. En Nueva Época, enero-febrero de 1984, nº. 37. Disponible en http://dialnet.unirioja.es/servlet/articulo?codigo=26765 [Fecha de consulta: 10 de noviembre de 2011].
Dougherty, Robin (1997): “Here’s to You, Mrs. Robinson”. En Salon, nº 13. Disponible en http://www.salon.com/feb97/graduate970221.html?CP=SAL&DN=110 [Fecha de consulta: 25 de diciembre de 2011].
Elsaesser, Thomas (1975): “The Pathos of Failure: American Films in the 70’s”. En Monogram, nº 6.
Elsaesser, Thomas (2004): “The Last -or first- Picture Show?”. En Horwath, Alexander, Elsaesser, Thomas y King, Noel (eds.): The last great American picture show: new Hollywood cinema in the 1970. Amsterdam: Amsterdam University Press.
Farber, Stephen y Changas, Estelle (1968): “The Graduate”. En Film Quarterly, Vol. 21, nº 3.
Faulstich, Korte (1997): Cien años de Cine: 1961-1976. Entre Tradición y Nueva Orientación. Madrid: Siglo XXI de Editores.
Ferro, Marc (1988): Cinema and history. Michigan: Wayne State University Press.
Indick, William (2004): Movies and the mind: theories of the great psychoanalysts applied to film. Carolina del Norte: Mcfarland Company.
King, Geoff (2002): New Hollywood cinema: an introduction. Londres: IB Tauris & Co.
Kracauer, Siegfried (1947): From Caligari to Hitler: A Psychological History of the German Film. Nueva Jersey: Princeton University Press.
Krämer, Peter (2005): The new Hollywood: from Bonnie and Clyde to StarWars. Londres: Wallflower Press.
Kolker, Robert (2000): A cinema of loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman. Oxford: Oxford University Press.
Metz, Walter (2004). Engaging film criticism: film history and contemporary American cinema. Nueva York: Peter Publishing. Díaz Martín, Marcos
Quart, Leonard y Auster, Albert (2002): American film and society since 1945. Westport: Greenwood Publishing Group.
Reck, Tom S. (2003): 'The graduate' reclassified”. En Commonweal. Disponibleen: http://web.blomand.net/~dennmac/review4.html [Fecha de consulta: 15 de diciembre de 2011].
Rosenstone, Robert (2006): History on film/film and history. Londres: Pearson Education.
Ryan, Michael y Kellner, Douglas (1988): Camera politica: the politics and ideology of contemporary Hollywood film. Bloomington: Indiana University Press.
Sand, Shlomo (2004): El siglo XX en pantalla. Cien años a través del cine. Barcelona: Ediciones Crítica.
Simon, John (1971): “The Graduate”. En Simon, John: Movies into film. Film criticism 1967-1970. Nueva York: Dial Press.
Simon, John (1971): Private Screenings. Berkley: Berkley Pub. Corp.
Sorlin, Pierre (1985): Sociología del cine. La apertura para la historia del mañana. Méjico DF: Fondo de Cultura Económica.
Wattenberg, Ben I. (ed.) (1976): The Statistical History of the United States. From Colonial Times to the Present. Nueva York: Basic Book.
Webb, Charles (2002): The Graduate. Nueva York: Washington Square Press.
Whitehead, J. W. (2001): Appraising the Graduate: The Mike Nichols Classic and Its Impact in Hollywood. Carolina del Norte: Mcfarland & Company.
Wright, Bradford (2001): Comic book nation: the transformation of youth culture in America. Maryland: The Johns Hopkins University Press.
Díaz Martín, M. (2012). El salto generacional y el discurso social en El Graduado. Fonseca, Journal of Communication, 4(4), 140–166. Retrieved from https://revistas.usal.es/cuatro/index.php/2172-9077/article/view/12057
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