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
Results 1-5 of 75
Page 6
... social problem thriller in Taxi (1996) and is now embarked on Tango and Pajarico. Víctor Erice makes his return to filmmaking, after El sol del membrillo (1992), with Juan Marsé's El embrujo de Shanghai; Mario Camus, after Adosados ...
... social problem thriller in Taxi (1996) and is now embarked on Tango and Pajarico. Víctor Erice makes his return to filmmaking, after El sol del membrillo (1992), with Juan Marsé's El embrujo de Shanghai; Mario Camus, after Adosados ...
Page 11
... social structures and mores. We have therefore focused particularly on the all-pervading preoccupation with the past, the search for a kind of cultural continuity and security, the significance of gender and sexuality to the formulation ...
... social structures and mores. We have therefore focused particularly on the all-pervading preoccupation with the past, the search for a kind of cultural continuity and security, the significance of gender and sexuality to the formulation ...
Page 12
... social change. This can be seen, for 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 ...
... social change. This can be seen, for 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 ...
Page 13
... social contexts, generic and thematic categories, 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 ...
... social contexts, generic and thematic categories, 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 ...
Page 17
... social and industrial relations, etc., were similarly anachronistic. Their inscription in the cultural products and practices of the time constituted a paradigmatic example of the function and purpose of myth if, as Roland Barthes ...
... social and industrial relations, etc., were similarly anachronistic. Their inscription in the cultural products and practices of the time constituted a paradigmatic example of the function and purpose of myth if, as Roland Barthes ...
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