‘Now playing everywhere’
Spanish horror film in the marketplace
in Contemporary Spanish cinema and genre
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter looks at the 'scare tactics' deployed by three recent Spanish horror films - El arte de morir/Art of Dying (Alvaro Fernández Armero, 2000), Darkness (Jaume Balagueró, 2002) and El laberinto del fauno/Pan's Labyrinth (Guillermo del Toro, 2006) - focusing on their marketing practices, mechanics of distribution and exhibition, and critical reception abroad and in Spain. It analysis the production and marketing strategies deployed by the producers of El arte de morir and discusses how the commercial aesthetic of being 'like Scream' fared among critics and reviewers. The Spanish studio Filmax under its genre division Fantastic Factory produced Jaume Balagueró's second feature film Darkness in the wake of his critically acclaimed and award-winning debut Los sin nombre/The Nameless (1999) in international horror circuits. Like Darkness, El laberinto del fauno premiered in the Sitges Festival and it acted as the launching platform for the film in the Spanish media.

Metrics

All Time Past Year Past 30 Days
Abstract Views 167 64 11
Full Text Views 32 2 0
PDF Downloads 4 1 0