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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.

Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market
Vicente Rodriguez Ortega

expression of an accepted “auteur”’ ( 2001 : 122). The Almodóvar brand is, in my view, a fully recognisable instance of art cinema rather than a genre, offering an example of how this type of cinematic endeavour functions as it circulates through different distribution and exhibition circuits around the world. Consequently, to fully map out the workings of Almodóvar-as-brand and the role of diverse genres in his films, we

in Contemporary Spanish cinema and genre
Barry Jordan

enough to secure financial backing as well as a wide support network of financial institutions. It can also generate production and distribution partners and a host of ‘associations’ linked to an ‘Almodóvar-branded’ film product. Also Almodóvar’s cleverly promoted and carefully designed photo shoots and marketing appearances at premieres, festivals, award ceremonies, stores and bookshops emphasise the centrality of his

in Alejandro Amenábar