Contemporary Spanish cinemaContemporary focus, right up to date with material from 1980s and 90s. Wide-ranging analyses of major directors, themes, genres and issues, including historical film, genre cinema, women in film and autonomies. |
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Page 19
... critical space for commentary on the present. The practice of making oblique reference to the present by reference to the past continued well into the transition period, not only because of the delay in the abolition of censorship in ...
... critical space for commentary on the present. The practice of making oblique reference to the present by reference to the past continued well into the transition period, not only because of the delay in the abolition of censorship in ...
Page 26
... critical responses, Madregilda performed disappointingly at the box office. Popular myths As noted above, recent sardonic reinventions of the Caudillo contrast significantly with the triumphalist images of Franco in classic treatments ...
... critical responses, Madregilda performed disappointingly at the box office. Popular myths As noted above, recent sardonic reinventions of the Caudillo contrast significantly with the triumphalist images of Franco in classic treatments ...
Page 27
... critical image of a corrupt and abusive police and judicial system. Compared to the strongly realist and political tone of the first instalment, the second took a more fictionalised, folkloric approach, adopting a more pronounced ...
... critical image of a corrupt and abusive police and judicial system. Compared to the strongly realist and political tone of the first instalment, the second took a more fictionalised, folkloric approach, adopting a more pronounced ...
Page 28
... critical discursive activity within the very different generic frameworks of Saura's films of the 1980s and 1990s (D'Lugo 1991: 192-224). The release of a trilogy of films exploring Saura's long-standing interest in flamenco dance ...
... critical discursive activity within the very different generic frameworks of Saura's films of the 1980s and 1990s (D'Lugo 1991: 192-224). The release of a trilogy of films exploring Saura's long-standing interest in flamenco dance ...
Page 29
... critically with such issues as the operation of rigid social structures (Bodas de sangre) and the destructive attitudes and behaviour prompted by Spanish machismo and traditional constructions of male pride, jealousy, honour, etc ...
... critically with such issues as the operation of rigid social structures (Bodas de sangre) and the destructive attitudes and behaviour prompted by Spanish machismo and traditional constructions of male pride, jealousy, honour, etc ...
Contents
1 | |
15 | |
popular genre film in postFranco Spain | 61 |
3 Gender and sexuality in postFranco cinema | 112 |
film in the autonomous regions | 156 |
Conclusion | 205 |
Index | 209 |
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Common terms and phrases
activity adaptation Almodóvar Antonio appears attempts audiences Basque become Catalan changes characters Civil classic clearly comedy concerned contemporary context continued conventions critical cultural dealing desire developed directors dominant early effects emotional enic h sinapS established example exploitation explores female figures film’s filmmakers finally focus focused forms Franco Francoist gender genre highly historical homosexuality Hopewell identity images industry issues José Madrid major male menic misogyny movie murder musical narrative offered particularly past perhaps period played political popular position present production projects questions range reality recent reference reflect regional relations relationship representation represented role rural screen seen sexual shot significant sinapS y raropmetnoC social Spain Spanish cinema Spanish film spectator story style success television tended thriller traditional transition trend violence women young