ABSTRACT
Flamenco films have a long history, the distinguishing feature of which has been their focus on dance. With the regime change in late 1970s, a new wave of flamenco feature films began to appear. Identity-tension also figures prominently in the analyses offered by Gomez Gonzalez, who argued that Saura's works generally conspire to develop 'un campo de significado estructurado por las tensiones culturales que continuamente reproducen el estereotipo del flamenco como el otro exotico. Many of Carlos Saura's films perform the Deleuzean feat of revealing the past in the present, but none so emphatically and explicitly as his Bunuel and King Solomon's Table (2001), a film that Saura himself embraced as his magnum opus in an interview with Rob Stone. However, from the point of view of those who are attentive to cinematic time-imagery, this same disorientation signals a productively disruptive experience, more promising than off-putting, a friend, not an enemy.
