Ocana. Retrat Intermitent/Ocana. An Intermittent Portrait, directed by Catalan filmmaker Ventura Pons in 1977, that is, at the height of the Barcelona movida sometimes referred to as the l.libertari, is highly representative of the impulse for renewal in Transition cinema and the attempt to document the new social reality. This chapter provides contexts and frameworks for the understanding of the film both in historical terms and in the way it engages with issues later developed by gender studies. In the 1970s, certain nineteenth-century mythologies of the Mediterranean as the locus of sensuality were very prominent in Catalan cultures. From the beginning of the film, José Ocaña questions why people wear clothes at all and it seems as if his 'stripteases' are designed to provoke. Ending on this note, Pons is underlining the most controversial aspect of his character and confirming a libertarian point of view for the film.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.