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Isolated by the repressions and censorship of Franco's regime, Spanish cinema developed distinctive style and content from the 1930s to the 1970s, largely without reference to its international counterparts. Through a series of close readings of films made in the Republican period under Franco and more recently under socialism, contributors here seek to present a clearer picture of Spanish national cinema.
This volume offers a detailed chronological account of the history of Spanish cinema.
In Refiguring Spain, Marsha Kinder has gathered a collection of new essays that explore the central role played by film, television, newspapers, and art museums in redefining Spain's national/cultural identity and its position in the world economy during the post-Franco era. By emphasizing issues of historical recuperation, gender and sexuality, and the marketing of Spain's peaceful political transformation, the contributors demonstrate that Spanish cinema and other forms of Spanish media culture created new national stereotypes and strengthened the nation's place in the global market and on the global stage. These essays consider a diverse array of texts, ranging from recent films by Almodóvar, Saura, Erice, Miró, Bigas Luna, Gutiérrez Aragón, and Eloy de la Iglesia to media coverage of the 1993 elections. Francoist cinema and other popular media are examined in light of strategies used to redefine Spain's cultural identity. The importance of the documentary, the appropriation of Hollywood film, and the significance of gender and sexuality in Spanish cinema are also discussed, as is the discourse of the Spanish media star--whether involving film celebrities like Rita Hayworth and Antonio Banderas or historical figures such as Cervantes. The volume concludes with an investigation of larger issues of government policy in relation to film and media, including a discussion of the financing of Spanish cinema and an exploration of the political dynamics of regional television and art museums. Drawing on a wide range of critical discourses, including feminist, postcolonial, and queer theory, political economy, cultural history, and museum studies, Refiguring Spain is the first comprehensive anthology on Spanish cinema in the English language. Contributors. Peter Besas, Marvin D'Lugo, Selma Reuben Holo, Dona M. Kercher, Marsha Kinder, Jaume Martí-Olivella, Richard Maxwell, Hilary L. Neroni, Paul Julian Smith, Roland B. Tolentino, Stephen Tropiano, Kathleen M. Vernon, Iñaki Zabaleta
Spanish cinema is emerging as one of the most exciting, fascinating, and special cinemas in the world. Not only are others viewing Spanish films, but they are adopting Spanish producers and Spanish actors as their own. While Spanish cinema has been maturing for a long time and has been producing excellent directors, actors, and films for decades_including during the dark times of the Franco regime_only now is it winning numerous fans not only at home but also abroad. And with directors like Pedro Almod-var, actors and actresses like Javier Bardem and PenZlope Cruz, and films such as Abre los ojos and Alatriste to build upon, the outlook for Spanish Cinema appears brighter than ever. The Historical Dictionary of Spanish Cinema provides a better understanding of the role Spanish cinema has played in film history through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on producers, directors, film companies, actors, and films.
This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.
Emerging as one of the most exciting, fascinating, and special kinds of filmmaking in the world, Spanish cinema has been producing excellent directors, actors, and films for decades, including during the dark times of the Franco regime. With directors (Pedro Almodovar), actors and actresses (Javier Bardem and Penelope Cruz), and films (Abre los ojos and Alatriste) amassing popularity, the outlook for Spanish cinema appears brighter than ever, and it is deservedly winning numerous fans abroad. --
A History of Spanish Film explores Spanish film from the beginnings of the industry to the present day by combining some of the most exciting work taking place in film studies with some of the most urgent questions that have preoccupied twentieth-century Spain. It addresses new questions in film studies, like 'prestige film' and 'middlebrow cinema', and places these in the context of a country defined by social mobility, including the 1920s industrial boom, the 1940s post-Civil War depression, and the mass movement into the middle classes from the 1960s onwards. Close textual analysis of some 42 films from 1910-2010 provides an especially useful avenue into the study of this cinema for the student. - Uniquely offers extensive close readings of 42 films, which are especially useful to students and teachers of Spanish cinema. - Analyses Spanish silent cinema and films of the Franco era as well as contemporary examples. - Interrogates film's relations with other media, including literature, pictorial art and television. - Explores both 'auteur' and 'popular' cinemas. - Establishes 'prestige' and the 'middlebrow' as crucial new terms in Spanish cinema studies. - Considers the transnationality of Spanish cinema throughout its century of existence. - Contemporary directors covered in this book include Almodóvar, Bollaín, Díaz Yanes and more.
This collection offers a new lens through which to examine Spain’s cinema production following the isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of 35 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary), both popular (Los abrazos rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la ciudad de Sylvia/In the City of Sylvia, El espíritu de la colmena/Spirit of the Beehive) and are made in English (as both first and second language), Basque, Castilian, Catalan and French. Offering an expanded understanding of ‘national’ cinemas, the volume explores key works by Guillermo del Toro and Lucrecia Martel alongside an examination of the ways in which established auteurs (Almodóvar, José Garci, Carlos Saura) and younger generations of filmmakers (Cesc Gay, Amenábar, Bollaín) have harnessed cinematic language towards a commentary on the nation-state. The result is a bold new study of the ways in which film has created new prisms that have determined how Spain is positioned in the global marketplace.
Across a broad spectrum of media, markets, and national contexts, self-reflexivity continues to be a favored narrative mode with wide ranging functions. In this book Amago argues that, in addition to making visible industry and production concerns within the film text, reflexive aesthetics have a cartographic function that serves to map the place of a film (geographic and cultural) within the global cinemascape, and thus to bring into sharper relief images of the national. Focusing on films in the contemporary Spanish context that in some way reflect back on themselves and the processes of their own production, that purposefully blur the distinction between reality and fiction, or that draw attention to the various modes of cinematic exhibition and reception, Amago proposes ways in which these movies can be employed to understand Spanish national cinemas today as imbedded within a dynamic global system.
In this survey of the history of Spanish cinema in the Spanish dictatorship and democratic periods, the author argues that studies of adaptations must simultaneously address questions of 'text' - formal issues central to the study of film and literature - and 'context' - crucial ideological concerns.