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Mannerism and mourning in Spanish heritage cinema
Sally Faulkner

Spanish press before and after the film’s release (Fernández Soto and Checa y Olmos 2010: 86). In the years immediately following El perro del hortelano, British heritage hits Shakepeare in Love and Elizabeth would continue to prove that RSC and classically trained actors could be deployed to great advantage in films that were not strictly theatre adaptations, but were set in the Elizabethan era, when much of Britain’s most-​loved drama was penned. 166 Performance and Spanish film Part of the global appeal of both films, Julianne Pidduck pointed out in 2001, was the

in Performance and Spanish film
Open Access (free)
The cinematic afterlife of an early modern political diva
Elisabeth Bronfen and Barbara Straumann

queen, and hear her cheering subjects, although the crowd remains invisible. The camera focuses exclusively on her, zooming into a close-up of her face, as the actress holds her pose. Then an overlapping dissolve superimposes an image of the crown onto her face. (The release of the film coincided with the coronation of Elizabeth II, thought by many to usher in a so-called new Elizabethan era.) Like

in The British monarchy on screen
Heather Norris Nicholson

provide a visual patchwork of how people in villages, towns and cities across Britain were swept along by populist enthusiasm. 29 Unlike the London-focused Festival of Britain in 1951, amateur coverage of the 1953 Coronation suggests that localised participation had both real and symbolic significance. 30 Many people equated the accession of the young queen with the start of a new Elizabethan era that would mark the end of

in Amateur film