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Film in the autonomous regions

Introduction Under Franco, especially in the early years, as the regime attempted to ‘rehispanicise’ the Spanish nation, regional languages, cultures and identities other than Castilian were effectively outlawed and forced underground. As we have seen, cultural life in Franco’s Spain would be conducted virtually exclusively in Castilian. In both practical and symbolic terms

in Contemporary Spanish cinema
Les Histoires d’amour finissent mal en général and Souviens-toi de moi

If dominant French cinema has tended to maintain the hegemony of a white, patriarchal, eurocentric understanding of Frenchness, voices from the periphery, particularly those of filmmakers of Maghrebi descent, have turned French cinema into a site of struggle for constructions of French national identity based on the realities of France as a multicultural, multi-ethnic society. One of the most original voices to intervene in this arena was

in Reframing difference

amateur filmmaking in Britain. Directors, critics, actors and other film professionals praised how the amateur film movement had contributed to the development of national cinema. ‘Amateur filmmakers are a stimulus to the professional film industry, and provide a growing audience for whatever we endeavour to do that is mature, imaginative and experimental’, enthused John and Roy Boulting, the prolific twin-brother director

in Amateur film

Spain as an entity and Spanish cultural identity are no less difficult to pin down as the concept of the nation state is simultaneously assailed by political, economic and cultural globalisation and the fragmentation of the state by the demands of its autonomous communities. This book presents a coherent picture of the main narrative, thematic, stylistic and representational trends which have characterised the recent cinema produced in Spain. It seeks to explore the obsession of Spanish cinema with the past and its role as part of a wider recuperation industry. The book examines the varied forms of historical cinema ranging from literary adaptation and period drama to retro thriller and musical. It offers an analysis of other main forms of genre cinema which have dominated the commercial industry and the popular imagination in Spain since the 1970s. The book explores constructions of gender and sexuality across a wide range of examples taken from a variety of contemporary movies. It also focuses on cinema in the autonomous communities, mainly Catalonia and the Basque Country. The period 1993 to 1994 was perhaps one of the most difficult for the film industry in post-Franco Spain, particularly in relation to production totals and audience figures. The setting Institut de Cinema Catalá offered a new forum for debate and inaugurated the first of a number of attempts to define what Catalan film and a Catalan film industry ought to be doing and how Catalan professionals should develop their sector.

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Meaning and practice, 1927–77

Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the wealthy, following the launch of lightweight portable cine equipment by Kodak and Pathé in Britain during the early 1920s. As social access to the new hobby widened, enthusiasts began to use cine equipment at home, work, on holiday and elsewhere. Some amateurs made films only for themselves while others became cine club members, contributors to the hobby literature and participated in film competitions from local to international level.

The stories of individual filmmakers, clubs and the emergence of an independent hobby press, as well as the non-fiction films made by groups and individuals, provide a unique lens through which contemporary responses to daily experience may be understood over fifty years of profound social, cultural and economic change. Using regional film archive collections, oral testimony and textual sources, this book explores aspects of family life, working experience, locality and social issues, leisure time and overseas travel as captured by filmmakers from northern and northwest England. This study of visual memory, identity and status sets cine camera use within a wider trajectory of personal record making, and discusses the implications of footage moving from private to public spaces as digitisation widens access and transforms contemporary archive practice.

Middle-class identity and documentary film

Middle Classes (London, UCL Press, 1995). On the American 06chap five.p65 118 6/28/2007, 10:40 AM 119 Middle-class identity and documentary film 5 6 7 8 9 06chap five.p65 professional middle class from the 1960s to the 1980s see Barbara Ehrenreich, Fear of Falling: The Inner Life of the Middle Class (New York, Harper Perennial, 1990). For an account of changing cultural tastes among American ‘highbrows’ from the 1980s to the 1990s, see Peterson and Kern, ‘Changing highbrow taste’, pp. 900–7. On the place of class in the emergence and institutionalisation of

in Watching the world

royal way of life. But unlike Orlando in Shakespeare’s play, the reporter must remain simply a reporter while the princess accepts that she is professionally destined for higher things. In the following year Hepburn starred in Sabrina (1954), which turns on a more physical kind of transformation, though one more universal than disguised identity – the inevitable yet unexpected biological changes as

in Shakespeare’s cinema of love
Liminality, identity and rural landscape in contemporary Scottish cinema

is made between identity and fate, land and sea in Blue Black Permanent, the first and only feature directed by Margaret Tait, made when she was 71 and approaching the end of a 40-​year career, primarily as an experimental, avant-​garde filmmaker. The narrative of Blue Black Permanent interweaves the life of Barbara (Celia Imrie), a professional photographer living in Edinburgh, and that of her mother, Greta (Gerda Stevenson). Barbara is haunted by Greta’s death by drowning some 30 years previously, when the latter had apparently walked into the sea while

in British rural landscapes on film
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Le Thé au harem d’Archimède and Hexagone

The title of this chapter re-works the title of John Singleton’s film, Boyz N the Hood (1991), one of a number of black independent films to emerge from the USA at the end of the 1980s, as a starting-point for examining the ways in which beur -authored cinema in France prior to 1995 was able to challenge dominant gendered understandings of ethnicity and identity through its representations of beurs in the banlieues of France. In

in Reframing difference
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. José María Otero, new head of Spain’s official Film Institute (Instituto de Cinematografía y de las Artes Audiovisuales ICAA) and Cortés’s civil servant, attempted to play down the attack, arguing that the minister’s words had been ‘un malentendido’ (misunderstood) and taken out of context. However, the offending remark provoked outrage as well as massive solidarity among film professionals right

in Contemporary Spanish cinema