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. |
From inside the book
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Page 8
... narrative and thematics, its retro film styles and prodigious taste for nostalgia. Spain as an entity and Spanish cultural identity are no less difficult to pin down as the concept of the nation state is simultaneously assailed by ...
... narrative and thematics, its retro film styles and prodigious taste for nostalgia. Spain as an entity and Spanish cultural identity are no less difficult to pin down as the concept of the nation state is simultaneously assailed by ...
Page 13
... narrative and formal features. Any such study implies an inevitable degree of overlap between generic and thematic considerations. Work by Bigas Luna, for example, demands discussion both within the frame of gender and sexuality as well ...
... narrative and formal features. Any such study implies an inevitable degree of overlap between generic and thematic considerations. Work by Bigas Luna, for example, demands discussion both within the frame of gender and sexuality as well ...
Page 18
... narrative resolutions tended to reinforce the status quo and close off any alternative readings. The mystifications of this cine oficial would become a major point of reference and an irresistible target for an oppositional cinema ...
... narrative resolutions tended to reinforce the status quo and close off any alternative readings. The mystifications of this cine oficial would become a major point of reference and an irresistible target for an oppositional cinema ...
Page 19
... narratives around such foci as the family, young children, hunting, etc., subjects which acted as microcosms and correlatives for real political events, institutions and situations. Of course, audiences were sensitised to this language ...
... narratives around such foci as the family, young children, hunting, etc., subjects which acted as microcosms and correlatives for real political events, institutions and situations. Of course, audiences were sensitised to this language ...
Page 21
... narratives. Novelists frequently adopted cinematic techniques of juxtaposition in order to emphasise social inequity and injustice, while minimising the role of an omniscient authorial voice and allowing the textual 'evidence' to speak ...
... narratives. Novelists frequently adopted cinematic techniques of juxtaposition in order to emphasise social inequity and injustice, while minimising the role of an omniscient authorial voice and allowing the textual 'evidence' to speak ...
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