Abstract
Forbidden spaces and helpless heroes: The Girl in Mourning and 1960s Spanish cinema examines Manuel Summers' second film, La nia de luto, released in 1964. It argues that Summers' popular narrative frame goes beyond its apparent tipismo (typical story in picturesque settings) to present its viewers with the angst of youth. Through a humorous portrait of life in an Andalusian village, Summers reveals the lack of personal freedom and choice experienced by young people during the sixties in Francoist Spain, as well as the constraining social forces around them.
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