Abstract
This article challenges the prevalent perception of Amenábar's films as popular entertainment more indebted to Hollywood than to Spanish cultural traditions. Through a case study of Abre los ojos (1997) it demonstrates that the film manifests oneirism in a manner consistent with the long-standing traditions employed by dominant figures of Spanish literature and drama (e.g. Cervantes, Calderón de la Barca, Valle-Inclàn). The aesthetics Amenábar employs to represent dreams can also be read as a development from the Spanish surrealist aesthetics of Luís Buñuel and Salvador Dalí and stand in contrast to conventional modes established in Hollywood.
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