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The making of Medem
Rob Stone

Ajurea Anea Pact against violence and towards the reincorporation into civil life of reformed and pacifist ETA activists had been sidelined by terrorist attacks, the dissention of Herri Batasuna (the political party associated with ETA) and González’s government’s adoption of the very tactics of indiscriminate terror that had characterised both the Franco regime and ETA’s own strategy (see Woodworth 2001). The beginning of the 1990s also brought a reduction in the Basque government’s investment in Basque cinema and an awareness that the lack of a cultural productive

in Julio Medem
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La mala educación
Ana María Sánchez-Arce

subject may activate an engagement with fragments of subjective memory, associated here with the violence and abuse inflicted on the body and subjectivity of the fictional character Ignacio. On a parallel plane, subjective memory is aligned with collective memory and history, associated in the film with the aggression and repression that the Franco regime inflicted on the Spanish national body and psyche. (2013b: 323) Juan’s wish to play Zahara/‘Ignacio’ stems from ambition and a desire to use the power of film to create a prosthetic memory where Ignacio succeeds

in The cinema of Pedro Almodóvar
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Colin Gardner

vignettes that use Arthur Seaton as a reflection of his social situation without resort to external ideological editorializing. Compare the above with Reisz’s negative evaluation of Juan Antonio Bardem’s widely acclaimed Death of a Cyclist (1955), where moral revolt fails to spring internally from character. A socially critical film made under the nose of the repressive Franco regime, Death of a Cyclist

in Karel Reisz
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Ann Davies

Fascists that (at that point in time, at any rate) undergirded the Franco regime – a regime that in turn undergirds the law and order that Barciela must maintain. Thus, in contrast to Luisa as resistant from a standpoint in the 1990s, as D’Lugo posited, Julia resists within her own historical place and time; her resistance is of the historical moment. Other retro noirs include a Galician noir, Continental

in European film noir
Film in the autonomous regions
Barry Jordan and Rikki Morgan-Tamosunas

suburb of Gracia. For Catalan audiences especially, the traumatic impact of the Civil War on the heroine Colometa (especially the loss of her husband) and her transformation into an alienated, introverted, shadowy creature, dispossessed of family and personal identity, offered a poignant metaphor for the fate of Catalonia under the Franco regime. (Hopewell 1986 : 123–4). The

in Contemporary Spanish cinema