Midnight in Paris (Woody Allen, 2011): la omisión del pasado como constituyente de la identidad urbana presente

Abstract

Abstract For a few years, the North American filmmaker Woody Allen is dedicating his films to different European cities. In the majority of them the urban referent is already present in the own titles beginning in Spain with Vicky, Cristina, Barcelona (2008), continuing in the neighboring country through Midnight in Paris (2011) and culminating in ‘the boot’ with A Rome with love (2012). This article analyzes the second film having as the principal point of study the dialogue past-present which is the center of the narration and, equally, reveals how the director, as well as presents the Parisians icons, always identifiable and localizable, expresses the other spaces, less known in touristic terms, but, without its real present identity for the majority of the cases. In sum, an approach to the portrait of the ville lumiere (in its past and present state) signed by Allen. Keywords Parcours , touristic-spectator, district/ arrondissement (n eme ), discours, narrative