Abstract
This article explores the relationship between space and identity in Carlos Saura's Deprisa, deprisa (1980), a social realist film which revolves around a gang of migrant delinquents. Neither urban nor rural, neither adults nor children, the in-between identity of the delinquents serves as a trope for a nation that was itself in the process of great social and geographical transformation. In discussing the borders between discrete identities in times of historical transformation, Homi Bhabha's theorization of the 'location of culture' proves particularly illuminating for the analysis of the liminal identities of the migrant delinquents. In building on these theories, this article discusses the ways in which national identity is both performed and contested in the film. In seeking to challenge the monolithic conceptualisation of the nation state, the figure of the delinquent contributes towards a more heterogeneous narrative of Spanish national identity.Este articulo estudia la relacion entre espacio e ide...
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