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Maria M. Delgado

the landmark year of 1992 – pivotal in global as well as Spanish political and cultural history, and represented here by Julio Medem’s Vacas/Cows and Erice’s El sol del membrillo/The Quince Tree Sun (both 1992). These films provide a context and a threshold for the films of the noughties that form the main body of the volume. Indeed, at the heart of this project, for which the majority of the films

in Spanish cinema 1973–2010
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David Archibald

In exploring representations of the Spanish Civil War, this book has highlighted the elasticity of cinematic depictions of one historical event. Even though the book has focused on fictional films sympathetic to the Republican side, it has shown the extent to which this historical event accommodates varying political positions in numerous cinematic forms, from Hollywood’s attempt to support the US’s role in the Second World War through its adaptation of Hemingway’s For Whom the Bell Tolls to, on the other side of the Iron Curtain, the assistance given to East

in The war that won't die
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Hyangjin Lee

selected films clearly discloses, on one hand, the conflicting ideas of contemporary Koreans on their self-identity as a divided nation. On the other hand, these films show that Koreans are still strongly committed to their common cultural traditions despite their current partition into two states and the resultant political conflicts between them. Film is a vital medium in both South and North Korean societies. As a mass

in Contemporary Korean cinema
Subjective realism, social disintegration and bodily affection in Lucrecia Martel’s La ciénaga (2001)
Julián Daniel Gutiérrez- Albilla

Lucrecia Martel’s La ciénaga ( The Swamp ) challenges and points to the collapse of the institutional power, representational modes and subjectivity of the traditional Argentine bourgeoisie in late modernity. Working at a kind of micro-political rather than a macro-political level, Martel’s film represents family and social disintegration, which is caused in part by the

in Hispanic and Lusophone women filmmakers
Susan Hayward

. Performance, display and voyeurism are key ways of approaching these issues, as is a discussion of the socio-political questions Besson addresses in his films. Conformity and control are the social norms that are institutionally sanctioned and yet they represent as much a form of violence as any other. Besson’s protagonists – whilst they may embody forms of violence – reject, fail or are unwilling to adapt to contemporary society, to

in Luc Besson
Indie pop, fanzines and punk rock
Pete Dales

following years great hostility would break out between the music press and the indie-pop scene and its fanzines. Overall, the chapter suggests that the 1980s indie scene was not by any means the apolitical ghetto that the music press of the day would eventually label it as. Indie-pop fanzines often had a consciously political agenda and a fiery way of writing; they were typically committed to the punk rock scene which indie pop grew from. Due to the ephemeral status of fanzines and their limited print runs, coupled with the overt hostility and misrepresentations of the

in Ripped, torn and cut
Paris revisited
Sue Harris

types, Ninette is a script-driven, highly polished studio production, in which the political and social realities of the Franco era are reduced to a set of comic markers. Set in Paris in 1959, among a family of Republican exiles, the film wears its history lightly, using exile and censorship as the driving mechanisms of a frothy comedy of frustrated sexual desire. The action of the film is entirely taken up with the intriguing

in Spanish cinema 1973–2010
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Martin O’Shaughnessy

dispassionate moral vision to a tragic or political one. The surface lightness created by comic plots can help us to understand the frequent comment that Renoir’s work has become quietist and turned its back on injustice and oppression. The apparent retreat from the present in most of the later films only serves to strengthen this feeling. The reaction of Georges Sadoul, the celebrated Communist critic, to Le

in Jean Renoir
Alison Smith

The films we have considered in the first four chapters derive from 1968 primarily in terms of content. Their styles remain modelled on pre-existing cinematic conventions, even if they have introduced innovations in emphasis and sometimes even in form. While in the 1940s and 1950s naturalism could be associated with a politically inspired break with previous production, notably in the early days of Italian neo-realism, by the 1970s it was both traditional and depoliticised. The implied low budget and social honesty did

in French cinema in the 1970s
Gender (and) politics in Colombian women’s documentary
Deborah Martin

America, ‘the tendency to focus on militant revolutionary politics has meant the downplaying of other types of commitment, such as feminism’s prolonged impact on cinema’ (2003: 76). 2 Here I begin to address this question with regard to Colombia, taking a deconstructivist approach to the discursive frameworks of three important films: Chircales ( Brickmakers ), by Rodríguez

in Hispanic and Lusophone women filmmakers