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Author: Rob Stone

This account of the life and films of the Spanish-Basque filmmaker Julio Medem is the first book in English on the internationally renowned writer-director of Vacas, La ardilla roja (Red Squirrel), Tierra, Los amantes del círculo polar (Lovers of the Arctic Circle), Lucía y el sexo (Sex and Lucía), La pelota vasca: la piel contra la piedra (Basque Ball) and Caótica Ana (Chaotic Ana). Initial chapters explore Medem's childhood, adolescence and education, and examine his earliest short films and critical writings against a background of a dramatically changing Spain. Later chapters provide accounts of the genesis, production and release of Medem's challenging and sensual films, which feed into analyses of their meanings, both political and personal, in which the author draws on traditions and innovations in Basque art, Spanish cinema and European philosophy to create a portrait of the director and his work.

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

(Motherland, Néstor Basterretxea and Fernando Larruquert, 1968) and La pelota vasca: la piel contra la piedra (Basque Ball, Julio Medem, 2003). The songs are not merely performed in these films and they do not only punctuate the narrative; rather, they influence the rhythm, structure, tone and time (or duration) of the films to such an extent that the shape of the films must be recognised as an aesthetic response to the ‘events

in Screening songs in Hispanic and Lusophone cinema
patterns of the past in Vacas/Cows
David Archibald

piel contra la piedra/The Basque Ball: The Skin Against the Stone (Medem, Spain, 2003). Heavily criticised by Spain’s then culture minister, Pilar del Castillo, and subjected to an attempted ban by the governing Popular Party, the documentary concerns the Basque country’s ongoing national conflict. To the dismay of many Spanish politicians of the time, the film advocates the necessity of negotiations between the Spanish government and ETA, the military wing of the Basque separatist movement. In press notes accompanying the film’s release, Medem comments that ‘After

in The war that won't die
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Carrie Hamilton

the postnationalist vision presented by Juaristi, along with Juan Aranzadi and Patxo Unzueta in their collection of essays Auto de terminación.14 Smith finds a parallel to the postnationalist project of Savater, Juaristi and company in the films of Basque-Spanish director Julio Medem. It is worth considering this connection in some detail because Medem’s 2003 documentary on the Basque conflict, La pelota vasca: la piel contra la piedra (Basque Ball: Skin Against Stone) clearly reveals the overlap between the gender politics of nationalism and those of postnationalism

in Women and ETA
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Maria M. Delgado

– Juanma Bajo Ulloa, Daniel Calparsoro and Julio Medem – set films within the Basque Country, all have gradually moved away from the landscape, social realities and myths of this autonomía in their twenty-first-century work. Only Medem in La pelota vasca: la piel contra la piedra/Basque Ball: Skin against Stone (2003) shot material in the Basque language, and while the film proved contentious in its treatment of ETA [Euskadi

in Spanish cinema 1973–2010
Domesticating the documentary archive
Kathleen M. Vernon

covered in his study ( 2008 : 176). A Glimpse also took home the Goya for Best Documentary Feature in 2003, a surprise winner over Julio Medem’s La pelota vasca/The Basque Ball, a thoughtful survey of different attitudes toward the Basque ‘problem’ and ETA set against the framing device of that quintessential Basque sport. A major factor in the creative ferment generated by these new documentaries in Spain was the founding

in Spanish cinema 1973–2010
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The performance of Basqueness by Carmelo Gómez and Silvia Munt
Rob Stone

performance of Basqueness was so established that the film cannot fail to echo former roles in this new character’s ill-​fated attempt at neutrality. The performance of Basqueness: Gómez and Munt 239 Most specifically, because his screen persona carried the baggage of playing characters who, albeit unwillingly, perform the stereotypes associated with the iconography of Basque nationalism such as the aizkolari and the gudari, so the nonpartisanship of Txomin, who completes the triptych of performances of Basque masculinity by being a champion pelotari (Basque ball player

in Performance and Spanish film
Rob Stone

), Los amantes del Círculo Polar (Lovers of the Arctic Circle, 1998), Lucía y el sexo (Sex and Lucía, 2001) and the documentary La pelota vasca: la piel contra la piedra (Basque Ball: The Skin against the Stone, 2003) have gained him festival prizes, complex distribution strategies, quality DVD editions of his films, the backing of Spain’s media giant Sogecine, a belated and problematic reputation as a political filmmaker and an increasing degree of autonomy that comes from co-financing his own features and making use of new technologies such as high definition digital

in Julio Medem
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Lisa Shaw and Rob Stone

shifts to an analysis of the influence of the bertsolari , the improvising Basque poet, on the unique montage of the key and controversial Basque documentaries Ama Lur (Motherland, Néstor Basterretxea and Fernando Larruquert, 1968) and Pelota vasca: la piel contra la piedra (Basque Ball, Julio Medem, 2004). By centring these theoretical considerations of time and film form within a contextual analysis, Stone posits an

in Screening songs in Hispanic and Lusophone cinema
Remixed Transition (1973–82)
Nuria Triana Toribio

it was not: not another comedia casposa (lit. comedy with dandruff) 6 that pokes fun by using tasteless images of the retrograde and pre-democratic elements still lurking in Spain. It was similarly not a film that would ostensibly upset the right-wing government by putting forward a different point of view about latent political issues (such as La pelota vasca: la piel contra la piedra [Basque Ball, Julio Medem, 2003

in Screening songs in Hispanic and Lusophone cinema