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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Results 1-5 of 69
Page 1
... example, referred to it as: 'Ridículo, absurdo, grotesco e insultante' (Ridiculous, absurd, grotesque and insulting), adding that in Cortés 'el PP nos ha puesto un verdugo' (PP have sent us an executioner) (Álvarez 1997: 36). On the ...
... example, referred to it as: 'Ridículo, absurdo, grotesco e insultante' (Ridiculous, absurd, grotesque and insulting), adding that in Cortés 'el PP nos ha puesto un verdugo' (PP have sent us an executioner) (Álvarez 1997: 36). On the ...
Page 5
... example (through his Producciones La Iguana), has supported Icíar Bollaín's ¡Hola! ¿Estás sola? (1995), Mariano Barroso's Mi hermano del alma (1993) and Extasis (1996), Azucena Rodriguez's Entre rojas (1995) and Daniel Calparsoro's ...
... example (through his Producciones La Iguana), has supported Icíar Bollaín's ¡Hola! ¿Estás sola? (1995), Mariano Barroso's Mi hermano del alma (1993) and Extasis (1996), Azucena Rodriguez's Entre rojas (1995) and Daniel Calparsoro's ...
Page 6
... example, in 1996, Canal+ showed nearly seventy Spanish films, a clear indication of its importance as a distribution outlet for national production as well as an investor, in conjunction with companies such as Sogetel (PRISA) (Álvarez ...
... example, in 1996, Canal+ showed nearly seventy Spanish films, a clear indication of its importance as a distribution outlet for national production as well as an investor, in conjunction with companies such as Sogetel (PRISA) (Álvarez ...
Page 9
... example, different regions (Aragón, Anadalusia, the Canary Islands, etc.) have very different ways of life, different regional, class and ethnic compositions and are anxious to create a clear and separate identity from the political ...
... example, different regions (Aragón, Anadalusia, the Canary Islands, etc.) have very different ways of life, different regional, class and ethnic compositions and are anxious to create a clear and separate identity from the political ...
Page 12
... example, in the escapist function of retro styles in the face of post-modern uncertainties or in the recasting of female characters in mainstream comedies to reflect, endorse or critique changing perceptions of women in society. In ...
... example, in the escapist function of retro styles in the face of post-modern uncertainties or in the recasting of female characters in mainstream comedies to reflect, endorse or critique changing perceptions of women in society. In ...
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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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