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- Author: Vicente Rodriguez Ortega x
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This chapter explores the genrification of the Almodovar brand in the US media and cinematic imaginary as a point of departure to tackle how the concepts of genre, authorship and Spanish cinema itself acquire different meanings when transposed into a foreign film market. It analyses the relationship between genre and Spanish cinema within a foreign film market. The chapter shows how the films of the three directors, namely, Pedro Almodovar, Alejandro Amenabar, Alex de la Iglesia, come to occupy distinct generic positions in the US market, depending on which cinematic attributes a distributor chooses to highlight or downplay in order to enhance their marketability. It examines the function of film within a variety of circuits of cultural, economic and ideological exchange. The chapter also analyses the domestic and US trailers of Almodóvar's, Amenabar's and de la Iglesia's films.
A generation ago, Spain was emerging from a nearly forty-year dictatorship. This book analyses the significant changes in the aesthetics, production and reception of Spanish cinema and genre from 1990 to the present. It brings together European and North American scholars to establish a critical dialogue on the topic of contemporary Spanish cinema and genre while providing multiple perspectives on the concepts of national cinemas and genre theory. The book addresses a particular production unit, the Barcelona-based Fantastic Factory as part of the increasingly important Filmax group of companies, with the explicit aim of making genre films that would have an appeal beyond the Spanish market. It explores the genrification of the Almodovar brand in the US media and cinematic imaginary as a point of departure to tackle how the concepts of genre, authorship and Spanish cinema itself acquire different meanings when transposed into a foreign film market. Melodrama and political thriller films have been a narrative and representational form tied to the imagining of the nation. The book also examines some of the aspects of Carícies that distinguish it from Pons's other entries in his Minimalist Trilogy. It looks briefly at the ways in which the letter acts as one of the central melodramatic gestures in Isabel Coixet's films. After an analysis of the Spanish musical from the 1990s until today, the book discusses Spanish immigration films and some Spanish-Cuban co-productions on tourism and transnational romance.
This introduction presents an overview of key concepts discussed in the subsequent chapters of this book. The book analyses the significant changes in the aesthetics, production and reception of Spanish cinema and genre from 1990 to the present. It brings together European and North American scholars to establish a critical dialogue on the topic of contemporary Spanish cinema and genre while providing multiple perspectives on the concepts of national cinemas and genre theory. The book starts from the premise that Spanish cinema is a product of local, regional, national and global forces operating in diverse contact zones inside and outside of geopolitical borders. It provides an investigation of contemporary Spanish cinema within a transnational framework by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces.