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Editors: Lisa Shaw and Rob Stone

This book explains how the famous Spanish singer and actress Imperio Argentina starred in a film, Carmen, la de Triana, that was made in Berlin under the auspices of the Third Reich. It examines the Transition between the dictatorship and democratic eras in four films featuring performances in which transgendered protagonists lip-synch to songs from the Hispanic diaspora. The book considers how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. It focuses on one of the most financially successful Spanish films of the last ten years: El otro lado de la cama. The book moves to how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. This was when the Spanish version of British punk's irreverence, playful and disrespectful attitude toward art, bad taste, and corrosive humour nevertheless failed to capitalise on the political overtones of the original movement. The book lays emphasis on music as an indicator of the attitudes, social hierarchies and demarcations of youth but marks a shift in focus towards flamenco. Continuing the interwoven themes of rootlessness and evolution, it examines the diegetic and non-diegetic contribution of songs to representative films of the so-called 'immigration cinema' genre within Spanish cinema. Next come the exploration of transnationalism, migration and hybridity by exploring the role of Afro-Cuban song, music and dance in two films from Mexican cinema's golden age: Salón Méxicoand Víctimas del pecado.

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The performance of Gypsy and Basque songs in relation to film form
Rob Stone

Basques to imagine a role for the language in the future of the Basque country, to the extent that the new Basque song movement of the 1960s and 1970s prompted a respondent public celebration of Basque culture. This too was tolerated by the centralised Spanish government, which even signalled this erstwhile defiance as an indication of the softening of Fascism in order to attract foreign investment and tourists to Spain. This

in Screening songs in Hispanic and Lusophone cinema
Manchester and the Basque children of 1937
Bill Williams

‘next week they would all go [back] to Bilbao’.169 Perceptions of a welcoming public had also begun to pale: faced by ‘staring’ and ‘whispering’ onlookers, the children had begun to see English people as ‘queer and unpleasant’.170 As to the children’s more exotic qualities, in responding to a request from the BBC, the house committee at Watermillock discovered that none of the children could sing and none knew any Basque songs.171 Such cracks in the stability of life at Watermillock produced neither the internal breakdown which Willcock had feared nor any sort of

in ‘Jews and other foreigners’
Film in the autonomous regions
Barry Jordan and Rikki Morgan-Tamosunas

Lera 1992 : 185), but defiantly intercutting samples of traditional Basque song and clips of rural scenery into its record of the trial, this account offered a view totally in keeping with a radical Basque nationalism anxious to reassert its political credibility. Despite suffering official interference and a restricted circulation, Uribe’s film captured national attention and gave rise to a number of

in Contemporary Spanish cinema