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Barry Jordan and Rikki Morgan-Tamosunas

recasting of female characters in mainstream comedies to reflect, endorse or critique changing perceptions of women in society. In Chapter 3, we explore constructions of gender and sexuality across a wide range of examples taken from a variety of contemporary movies. We lead into this by looking at relevant filmic representations of gender and sexualities under the Franco regime and

in Contemporary Spanish cinema
María Pilar Rodríguez

imposed by the Franco regime and to become European in every way possible – to the new writers and filmmakers of the 1990s, a decade defined ‘by a total absence of state, governmental, or global European-style projects other than that of monetary integration’ (Moreiras, 2000 : 35). By the mid-1990s, the lives of young people in Spain were very similar to those of their counterparts in the rest of the western world and there was

in Screening songs in Hispanic and Lusophone cinema
Civil insecurity, democracy and the home
Tom Whittaker

Antifascista y Patriota [Revolutionary Antifascist Patriotic Front]), the revolutionary organisation deemed by the Franco regime to be a terrorist group. Imprisoned for his alleged involvement in a terrorist attack against two police officers, Moya is released along with several other political prisoners following the passing of the amnesty law of 1977. As the film suggests, Spain's political classes are, however, more concerned with the greater project of national reconciliation than addressing the material problems of youth unemployment and public insecurity. On its

in The Spanish quinqui film
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Jay Beck and Vicente Rodriguez Ortega

Vergara, Juan de Mata Moncho and José Vanaclocha). Published in 1974 – a year before the end of the Franco regime – the book offers a series of clues about how Spanish film scholarship conceptualised the role of genre within the wider terrain of Spanish cinema. In particular, the book examines the existence of genre in Spanish cinema through the filter of subgéneros , or sub-genres: a term used here to classify Spanish genre

in Contemporary Spanish cinema and genre
Fernando Arrabal and the Spanish Civil War
David Archibald

practice favoured by the Franco regime. The last man killed by the garrotte in Spain was the Catalan anarchist Salvador Puig Antich, who was executed on 2 March 1974. His life is depicted in Salvador (Huerga,Spain/UK, 2006).

in The war that won't die
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Comedy and the Spanish Civil War in cinema
David Archibald

hermeneutic relationship to the past which is able to grasp its own present as history only on condition it manages to keep the idea of the future, and of radical and utopian transformation, alive’. (1979: 72) It is a role that Libertarias fails to fulfil. La vaquilla On its release in 1985 La vaquilla was one of the most commercially successful films within Spain. (Deveny, 1993 : 46) Prior to working on La vaquilla, Berlanga had directed a number of films which employed elements of comedy to critique the Franco regime, perhaps most famously ¡Bienvenido, Mister

in The war that won't die
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Transgender performance and the national imaginary in the Spanish cinema of the democratic era
Ian Biddle and Santiago Fouz-Hernández

continuum (from intense hyperbolic, almost hysterical affiliation, through to abject and repulsed rejection). In gender designations in these and other films made after the demise of the Franco regime, a set of adherences to, and abandonments of, the normative heterosexual gender matrix may be detected, which cannot be simply reduced to the either/or of the radical/conservative. As demonstrated, transgenderism offers no simple way

in Screening songs in Hispanic and Lusophone cinema
Revindicating Spanish actors and acting in and through Cine de barrio
Duncan Wheeler

be interpreted as a pre-​emptive retort against those who decry the popular: the cines de barrio were a natural habitat for plumbers, and programmed with their tastes in mind. In the later decades of the Franco regime, there was greater variation in prices in different cinemas than there is today, with tickets costing anywhere between 5 and 20 pesetas in 1965 (Barreiro 1999: 45). Popular films had sufficient commercial clout to premiere in city-​centre cinemas before being transferred to the kind of fleapit or neighbourhood cinemas that Almodóvar has paid homage to

in Performance and Spanish film
Spectacle and Spanish identity during Franco’s dictatorship
Juan Francisco Gutiérrez Lozano

s and 1970s, Spanish film musicals and television programmes created several variations on this female stereotype. Even Massiel, the singer who won the Eurovision Song Contest for Spain in 1968, could be regarded as an updated version of a copla singer, adapted to pop music. She became one of the most famous stars in Spain due to her victory, which was portrayed as embodying the spirit of Spanish patriotism.7 Although they shared billing with the country’s folk-­ culture heroines, the leading male figures in the Franco regime’s nationalistic, television

in Popular television in authoritarian Europe
The Golden Army
Deborah Shaw

’s Labyrinth came from’, and notes that he wrote it both while he was filming El laberinto and during post-production. It is interesting to look at del Toro’s notebook included in the published shooting script for El laberinto, as single pages have written and pictorial ideas for both films (del Toro, 2006). Many of the differences in storyline are dictated by the contexts in which the two films were made. El laberinto, a film which celebrates resistance to the Franco regime, is more political in nature than would be acceptable in a US summer superhero movie; nevertheless

in The three amigos