Selling out Spain
Screening capital and culture in Airbag and Smoking Room
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

Genre', Christine Gledhill declares, 'is first and foremost a boundary phenomenon', and genre critics act as 'cartographers' concerned with exploring and defining the 'fictional territories' that distinguish certain kinds of films, like westerns, from others, such as gangster films. This chapter analyses the interpenetration of culture and capital in two recent Spanish films: Airbag (Juanma Bajo Ulloa, 1997) and Smoking Room (Roger Gual and Julio Wallovits, 2002). These two films offer a curious aesthetic juxtaposition and present a unique insight into the influence of capital on cultural production in Spain. The chapter begins the discussion of Airbag with a quote that frames the polemic surrounding the film's use of techniques typically associated with Hollywood blockbuster films. Smoking Room depicts the reactions of several employees in a Spanish subsidiary of an American multinational company that imposes its own corporate culture by forcing its workers to smoke outside.

Metrics

All Time Past Year Past 30 Days
Abstract Views 124 18 6
Full Text Views 35 0 0
PDF Downloads 3 1 0